"The Ten Christmas Songs of Steve Pulaski:" Song #1: Denis Leary - "Merry Fuckin' Christmas"

"The Ten Christmas Songs of Steve Pulaski"

Song #1: Denis Leary - "Merry Fuckin' Christmas" (2004)

Merry F#%$in' Christmas

"All the kids go to bed each night to dream what Santa brings 'em; unless they're Jewish, or Muslim, or some other jip religion."

We end "The Ten Christmas Songs of Steve Pulaski" with the blog series' most cynical endeavor, which just so happens to be my all time favorite Christmas song: "Merry Fuckin' Christmas" by Denis Leary. The title is so blunt and straight-forward that just seeing it begs you to listen to it, and when one makes the wise decision, they are greeted with a hardened, brutally-honest reiteration of Christmas conventions, everything from the weather being "so cold you could catch your death" and the onslaught of "crappy Toys flying off the shelves."

Leary, who saw his song "Asshole" appear on "The One-Hundred Songs of Steve Pulaski" blog series this past summer, is zealous in his critiques and observations of the holiday season, providing for some of the funniest lyricism this side of Christmas carols. He's vulgar and unapologetically honest with his lyrics, and being older and less interested in Christmas (now that I have a job, I usually wind up working the entire week), this song is perfect to listen to on the drive to work on Christmas Eve (I'll probably have it turned up all the way when I'm going to work today).

"Merry Fuckin' Christmas" is miserable, but its observations have an honesty to them, critiquing the materialism of Christmas and the hilarious depictions of a Santa with bourbon breath or midgets donning their elf apparel. With Leary's great lyricism and the song having an addicting beat, I'm proud to call this my favorite Christmas song; it's also best served with a viewing of Bad Santa to complete one's cynical Christmas.

Give "Merry Fuckin' Christmas" a listen, https://www.youtube.com/watch?v=Z44ZPjYpcv4

"The Ten Christmas Songs of Steve Pulaski:" Song #2: Toby Keith - "Little Drummer Boy"

"The Ten Christmas Songs of Steve Pulaski"

Song #2: Toby Keith - "Little Drummer Boy" (2007)

A Classic Christmas

"I have no gift to bring, pa, rum, pa, pum, pum. That's fit to give a king, pa, rum, pa, pum pum. Rum, pa, pum, pum."

Every time I have tried to tell friends, family, or acquaintances that one of the best renditions of "Little Drummer Boy" I have ever heard comes from country artist Toby Keith, I'm met with rolling eyes or casual dismissal, even if I try to keep the straightest face. While I realize country is one of the most divisive musical genres alongside hip-hop, and Toby Keith is a "love him or hate him" kind of artist, his version of "Little Drummer Boy" remains my favorite. For one, Keith's trademark deep, baritone voice allows the song to be sung in a terrifically affecting way, and one that makes for an inanely catchy and infectious rhythm all the more. Keith also utilizes his instrumentation options in a perfect manner, allowing them to be explosive at the right times and regressive at others, making each "rum, pa, pum, pum" all the more intoxicating. 

Before you give yourself a headache from all the eye-rolling, all I can say is give it a listen below.

Give "Little Drummer Boy" a listen, https://www.youtube.com/watch?v=77_9X8jfzUk

"The Ten Christmas Songs of Steve Pulaski:" Song #3: Daniel Brochu - "Baxter Day"

"The Ten Christmas Songs of Steve Pulaski"

 

Song #3: Daniel Brochu - "Baxter Day" (2000)

Arthur's Perfect Christmas

"Stop whatever you're doing, let me hear you say, 'today is Baxter day!'"

While "The Ten Christmas Songs of Steve Pulaski" has been plastered with unconventional Christmas tunes, "Baxter Day," an original song taken from the TV show Arthur's Christmas special Arthur's Perfect Christmas, is an ode to unconventionality. The song is named after the character Buster Baxter (voiced by Daniel Brochu), who sees his mom hustle and break her back to give him a great Christmas every year. Upset at her constant restlessness and evident dissatisfaction with the holidays, Buster creates "Baxter Day," a day leading up to the holidays that entitles them to just stay in their pajamas, have fun, and lounge around the house all day, not even having to leave the house or get out of bed. It's a day dedicated to him and his mom and reminds us that these kinds of "relaxer days" are what we all need. It also hails from my favorite Christmas special from one of my all-time favorite Television programs.
 

Give "Baxter Day" a listen, https://www.youtube.com/watch?v=xI_3Am563V4

"The Ten Christmas Songs of Steve Pulaski:" Song #4: Swing Cats - "Rock Santa Rock"

"The Ten Christmas Songs of Steve Pulaski"

Song #4: Swing Cats - "Rock Santa Rock" (2001)

Swing Cats Presents A Rock-a-Billy Christmas

"I'm comin' home for Christmas, so let's go, man, go!"

I was almost going to let "Rock Santa Rock" by the Swing Cats go uncredited, as I did not discover who sung the song until fairly recently. I first heard the song in the 2001 film I Saw Mommy Kissing Santa Claus, during a montage of when young Dustin (Cole and Dylan Sprouse) is attempting to rig traps for Santa Claus on Christmas Eve. The song instantly resonated with me, as it wasn't a conventional Christmas tune and had an uptempo sound to it. The Swing Cats conduct the song in a manner reminiscent of classic fifties and sixties tunes, despite being a fairly recent song, and serves as one of the most fun Christmas songs I know. 

Give "Rock Santa Rock" a listen,  https://www.youtube.com/watch?v=YHTINBGO5Zk

"The Ten Christmas Songs of Steve Pulaski:" Song #5: The White Coffin Terror - "Silent Night, Deadly Night"

"The Ten Christmas Songs of Steve Pulaski"

 

 Song #5: The White Coffin Terror - "Silent Night, Deadly Night" (2011)

Psychobilly Christmas

"Silent night, deadly night. Everyone's all bloody red tonight!"

Two years ago, I was pleasantly surprised by the horror film Silent Night, which billed itself as a partial remake to the controversial eighties slasher Silent Night, Deadly Night, and how well-done it was for a low-key horror film. One thing I still remember even after two years is the hilarious and insanely catch end credits song from the film, "Silent Night, Deadly Night" by a heavy-metal band called The White Coffin Terror. The song is a raucous and hugely entertaining subversion of the Christmas classic everybody knows, shredding the tranquil and comforting ambiance for something more explosive and along the lines of breakneck heavy metal.

The song works because of the extremities brought forth by the cut-throat lyricism of the song, which includes often graphic visualizations of murder and bloodshed, making this a hilarious offbeat Christmas song I thoroughly love. Any attempt to subvert or completely transform the way a Christmas classic works gets immediate points for me, and The White Coffin Terror turned "Silent Night, Deadly Night" into a terrific example of grim holiday fun.

Give "Silent Night, Deadly Night" a listen, https://www.youtube.com/watch?v=6B5o9t9-KQk

"The Ten Christmas Songs of Steve Pulaski:" Song #6: Gayla Peevey - "I Want a Hippopotamus for Christmas"

"The Ten Christmas Songs of Steve Pulaski"

Song #6: Gayla Peevey - "I Want a Hippopotamus for Christmas" (1953)

"I Want a Hippopotamus for Christmas" - Single

"Mom says the hippo would eat me up, but then, teacher says the hippo is a vegetarian."

I was working late at the liquor store late on Christmas Eve; it was around 7pm and we still had two more hours to go on what had already been a taxing and absolutely exhausting day. The Christmas vibes were in full swing, with people coming in with Christmas attire on, snow on the ground, and Christmas music blaring over the store's radio, cycling through what seemed to be an equal mesh of tolerable Christmas tunes and insufferable ones. Suddenly, one came on the radio I had never even heard of, and the music-recognition app Shazam informed me it was Gayla Peevey's 1953 novelty tune "I Want a Hippopotamus for Christmas." Now this was my kind of Christmas song.

The song is clearly a product of the fifties, from the occasionally-scratchy, sensitive microphone being utilized to the classic instrumentation of the song, which has trumpets blaring at several moments in the song. The song featured a ten-year-old Peevey singing about how the only thing she wants for Christmas is a hippopotamus, to feed, wash, and massage, despite the potential dangers and the overall improbability of living with a hippo, as told by her mother. 

The song perfectly captures the asinine gifts you want when you're young, whether they be the hottest toy on the market that year or, on the other hand, something completely unrealistic or silly. It's when your imagination takes over your rational thinking, and you become entranced with asking for the most ridiculous thing just because you have a free pass. However, "I Want a Hippopotamus for Christmas" is made such a wonderful song not just by its themes and its qualities relatable to children with overactive imaginations, but Peevey's unique singing voice, only emphasized and exploited in the best possible way when set to such large and infectious orchestration. 

This is one of the most peculiar Christmas classics in a blue moon, rarely occupying the same breath as other holiday staples, but this one's hilarity and goofiness needs to be more formally recognized and seen as a great addition to the holiday season.

Give "I Want a Hippopotamus for Christmas" a listen, https://www.youtube.com/watch?v=sjwiwcUKK1c

"The Ten Christmas Songs of Steve Pulaski:" Song #7: Joe Pesci - "If It Doesn't Snow on Christmas"

"The Ten Christmas Songs of Steve Pulaski"

 

Song #7: Joe Pesci - "If It Doesn't Snow on Christmas" (1998)

Vincent LaGuardia Gambini Sings Just for You

"Now, they say he's got eight reindeer, for the sleigh he's driving here, but how the fuck's he go if it doesn't snow on Christmas this year?"

I still adore all the strange looks I get from people after all these years when I tell them that Joe Pesci - the same man responsible for playing pivotal roles in Martin Scorsese's mobster films like Casino and Goodfellas - also made two albums, his sophomore effort composed almost entirely of parody songs, novelty tunes, and cover songs. One of my favorite songs off of his second album, titled Vincent LaGuardia Gambini Sings Just for You after his character in My Cousin Vinny, is his Christmas song "If It Doesn't Snow on Christmas," where he vulgarly asks us Santa's alternate method to deliver his presents to all the girls and boys if it doesn't snow on Christmas? It's a reasonable question, even if you don't like the song.

Pesci sings in his nasally, purebread Italian voice, and is even backed up by a few singing children towards the end, whom he hilariously interacts with before the song ends. Pesci suggests alternate methods of transportation for Santa if the weather doesn't provide for snow, like a train or a bus, even remarking how he sent him a "nice long letter" to question his backup plan.

Not only is the song hilarious, repeatedly asking a question that does definitely deserve some sort of yuletide amendment to convention, but to hear such a goofy tune sung by one of the most hardened tough guys film has ever seen is also something to behold. Contrary to what could reasonably be assumed from my explanation, Pesci's Christmas song definitely gets me in the mood for the holidays for questioning a ritually-accepted convention in a way that provides for some festive humor.

Give "If It Doesn't Snow on Christmas" a listen, https://www.youtube.com/watch?v=hawOAtZcW9o

"The Ten Christmas Songs of Steve Pulaski:" Song #8: Jeff Foxworthy - "Redneck 12 Days of Christmas"

"The Ten Christmas Songs of Steve Pulaski"

 

 Song #8: Jeff Foxworthy - "Redneck 12 Days of Christmas" (1995)

Crank it Up: The Music Album

"Or if you leave cold beer and pickled eggs for Santa Claus."

"What's wrong with that?"

"I didn't say anything's wrong with it; it's hard to beat!"

I'll be the first to admit, if you told me to recite the famous "Twelve Days of Christmas," I would stumble on more than a few. Now, if you told me to recite the "Redneck 12 Days of Christmas," I wouldn't stutter. While I have never been entirely immersed in the proclaimed "redneck" culture, I have, however, been fascinated with one of Jeff Foxworthy's biggest musical hit since the start of his career as a comedian, actor, game show host, and musician ever since I saw the music video for it when I was around five. My father was flipping through channels and settled on Great American Country (GAC), for what he probably assumed was just going to be a minute. We caught the middle of the "Redneck 12 Days of Christmas" music video, and while I could see he just couldn't wait to change the channel, I wanted it left on; I found the concept of parody and homage fascinating at that age (which would later explain my fixation for "Weird Al" Yankovic in my tween years) and Foxworthy's tune captivated me.

The song is just about what you'd expect, especially the music video, which is painted in broadstrokes and heavy on caricaturing popular redneck archetypes. However, there's a pleasant corniness with the material in how far it took this particular idea of what a redneck would receive for each of the twelve days of Christmas. Everything from a twelve-pack of Bud Light, to eleven wrasslin' tickets, ten packs of Copenhagen, and nine years probation, it's all here, and Foxworthy sings it in a breathless (literally) and entertaining manner, as he converses with a miniature elf-version of himself (who sounds suspiciously like Larry the Cable Guy).

The song is everything a novelty song is and never fails to excite me whenever I hear it in its ridiculous glory. Don't knock it until you hear it.

Give "Redneck 12 Days of Christmas" a listen, https://www.youtube.com/watch?v=G4kbdVMCYHI

"The Ten Christmas Songs of Steve Pulaski:" Song #9: Brenda Lee - "Rockin' Around the Christmas Tree"

"The Ten Christmas Songs of Steve Pulaski"

  

Song #9: Brenda Lee - "Rockin' Around the Christmas Tree" (1958)

Merry Christmas, Brenda Lee

"When you hear voices singing, 'let's be jolly,' deck the halls with boughs of holly!"

Brenda Lee's Christmas staple "Rockin' Around the Christmas Tree" is probably the last conventional Christmas tune on "The Ten Christmas Songs of Steve Pulaski," but that shouldn't at all lessen its own impact as a song. Every Christmas I have had that I can recall, this song has been a part of it in some way, whether I was grooving to it in the backseat of my mother's Pontiac as a young child, picking up the pace at work when I heard the song come on the radio, or hearing it on the music channel while putting on my Christmas tree, the swinging sounds of Brenda Lee somehow always managed to find its way into my festivities.

"Rockin' Around the Christmas Tree" is my kind of Christmas classic, similar to José Feliciano's "Feliz Navidad" (number ten on "The Ten Christmas Songs of Steve Pulaski") in that it isn't overplayed like "Jingle Bells" or "Santa Claus is Comin' to Town," but still has a sense of holiday traditionalism, being several decades old from a singer who embodies a classic sense. Not to mention, there's an undeniable level of fun that comes from the idea of embracing the holiday season so much that one's response to it is to "rock around" said Christmas tree. This is an enjoyable, quintessential tune to the season in my book.

Give "Rockin' Around the Christmas Tree" a listen, https://www.youtube.com/watch?v=is4NQkUN3AI

"The Ten Christmas Songs of Steve Pulaski:" Song #10: José Feliciano - "Feliz Navidad"

"The Ten Christmas Songs of Steve Pulaski"

 

Song #10: José Feliciano - "Feliz Navidad" (1970)

Feliz Navidad

"I wanna wish you a Merry Christmas from the bottom of my heart!"

Steve Pulaski's Foreword to "The Ten Christmas Songs of Steve Pulaski:" As many of you know, I did a massive undertaking during the summer of 2014, where I cataloged the one-hundred songs I know that either shaped me as a person, had an immense personal effect on me, or I felt were underrated and deserved more recognition. With that enormous blog series laid to rest, I decided for the holiday season to resurrect a "sequel" of sorts, with my top ten favorite Christmas songs. These songs aren't necessarily as meaningful to me as the aforementioned one-hundred (which, for the record, you can view each individualized song and a writeup of its impact on me on this very blog), but these tunes get me in the mood for Christmas and strike an emotional chord in me that I always anxiously await to let free. This blog series begins on December 15, 2014 and will conclude on December 24, 2014, leaving you with the potential for a Christmas playlist on the ride to your loved ones' home. Are you ready?

Song #10: José Feliciano - "Feliz Navidad:" I might as well use one of the two conventional Christmas songs to kick off "The Ten Christmas Songs of Steve Pulaski," with the first one being José Feliciano's instantly recognizable "Feliz Navidad." Right off the bat, my first comment is a criticism, which is the song has unremarkable lyrics, especially for "the most wonderful time of the year." However, Feliciano makes us forget how monotonous the song is by combining tremendous orchestration with his enthusiastic vocals to create a song that gets anybody moving a bit quicker and ready to embrace the holidays. Employing fun and effectively-blended Spanglish to create the mood,Feliciano makes this song vibrant and terrifically uptempo, and when the instruments kick it up a notch for Feliciano's trademark chorus, each time I hear it, reminds me why I feel a bit more inspired during this time of the year. As simple and as beautiful as it is, it's easy to forget with the plethora of more famous Christmas classics coming to mind over this one, but rarely has a classic song been sung so well that any other version doesn't receive a fourth of the recognition.

Give "Feliz Navidad" a listen, https://www.youtube.com/watch?v=PM70hBp2Fjk

"The One-Hundred Songs of Steve Pulaski" in Summation: A look back at the three-month-long blog series and a brief look at another forthcoming endeavor

September 8th, 2014 marks the end to "The One-Hundred Songs of Steve Pulaski" blog series, a massive, daily-undertaking of writing unique, individualized writeups on the one-hundred songs that a personal effect on me or songs that I felt were criminally underrated and deserved recognition. The blog series began June 1st, 2014 and continued all the way until September 8th, 2014 where a brand new writeup would be posted each day (with a few missteps and late releases) and would be marketed around social media, giving readers a more personal look into my upbringing and my views on music along with exciting and intriguing new music to check out.

In terms of readership, the blog series wasn't that successful, mainly because of the niche-topic and the different domain from my traditional ProBoards, Youtube, and Blogspot link. Admittedly, I was disappointed that readership wasn't higher and, in that regard, the blog series is, by conventional definition, a flop. Yet, in a money-driven, viewership-driven society, we think of how much we made or how much we got out of putting into a product, and it's hard to condemn or obscure that fact when it makes up so much of why we do something. However, I cannot measure the amount of personal gratification it took me to create and publish this blog, writing several unique writeups day-in and day-out, resurrecting memories and old favorite songs and reflecting on moments in my life gave me an incredible amount of happiness each and every day.

My neighbor described the series better than I have when I was telling him about what I was doing with this project. "It sounds like a diary," he said, "a public diary where people can read into you and your feelings, and the fact that you're honest and descriptive about your feelings on music make it that much more interesting." I couldn't have said it better. The blog series was a public diary; an entryway into my life and my emotions with music, and with that, I consider the series a huge success.

I'd like to take this time to announce that this isn't the last daily blog series you'll be seeing from me either. Starting December 15th, 2014 and going until December 24th, 2014, I will be doing "The Ten Christmas Songs of Steve Pulaski," where I list my top favorite Christmas songs, which will deviate greatly from your archetypal "Rudolph the Red Nose Reindeer" and "Silent Night." I also plan on doing a blog on my ten favorite musicians currently working today, a blog on my top five favorite songs from 2014 at the beginning of 2015, and continue doing album reviews on my main ProBoards site. I'll still be active with music, just not to the extent of "The One-Hundred Songs of Steve Pulaski" blog series...for now, at least.

Below is some statistical data for "The One-Hundred Songs of Steve Pulaski," with the songs broken up by genre and what percentage said genre made up of the entire blog series. Also included are the most common artists of the blog and ten songs that were originally slated to make it into the blog series but were cut last minute.

The most popular artists of the blog series, out of eighty-five artists:

Hank Williams III - 6

Gary Numan - 5

Hank Williams - 5

Chief Keef - 4

Dolla - 4

Toby Keith - 4

A breakdown of what percentage specific genres made up of the blog series:

Country (27%):

99. I Don't Have to Be Me ('Til Monday) - Steve Azar
92. Where the Blacktop Ends - Keith Urban
91. I'm Just Talkin' About Tonight - Toby Keith
90. Some Beach - Blake Shelton
85. Cocaine Blues - Hank Williams III
83. Common Man - John Conlee
82. Move It On Over - Hank Williams
80. The Race is On - George Jones
79. Copperhead Road - Steve Earle
76. Why Can't We All Just Get a Longneck? - Hank Williams, Jr.
74. Brokenheartsville - Joe Nichols
73. Straight To Hell ("Satan is Real" Medley) - Hank Williams III
70. People Like Us - Aaron Tippin
66. Baby We're Really In Love - Hank Williams
60. When the Sun Goes Down - Kenny Chesney and Uncle Kracker
58. Billy's Got His Beer Goggles On - Neal McCoy
53. Crazed Country Rebel - Hank Williams III
52. How Do You Like Me Now?! - Toby Keith
50. Settin' the Woods on Fire - Hank Williams
42. Gutter Town - Hank Williams III
39. Waitin' on Joe - Steve Azar
33. It's a Great Day to Be Alive - Travis Tritt
32. Should've Been a Cowboy - Toby Keith
31. If the Shoe Fits - Hank Williams III
21. Six Pack of Beer - Hank Williams III
7. I'll Never Get Out of This World Alive - Hank Williams
2. Beer for My Horses - Toby Keith feat. Willie Nelson

Rock (21%):
84. Lookin' Out My Backdoor - Credence Clearwater Revival
77. Some Kind of Wonderful - Grand Funk Railroad
71. My Back Pages - Bob Dylan, Roger McGuinn, Tom Petty, Neil Young, Eric Clapton, and George Harrison
68. Can't Even Tell - Soul Asylum
67. I'm Alright - Kenny Loggins
65: Only the Good Die Young - Billy Joel
56. The Resist Stance - Bad Religion
54. Limelight - Rush
51. Carry on Wayward Son - Kansas
49. Runnin' Down a Dream - Tom Petty
45. Midlife Crisis - Faith No More
40. Take Me Home Tonight - Eddie Money
37. American Pie - Don McLean
36. I Fought the Law - The Clash
35. Ridin' the Storm Out - REO Speedwagon
30. A Horse With No Name - America
26. Proud Mary - Credence Clearwater Revival
22. Piano Man - Billy Joel
16. Life's Been Good to Me - Joe Walsh
13. Everything Louder Than Everything Else - Meat Loaf
11. The One I Love - R.E.M.

Rap (18%):
100. Crank That (Soulja Boy) - Soulja Boy Tell 'Em
98. Got Them Bands - Chief Keef
93. Ride Wit Me - Nelly feat. City Spud
88. Super Size Me - Toothpick
87. Statistic - Dolla
78. Out Here Grindin' - DJ Khaled feat. Akron, Rick Ross, Plies, Lil Boosie, Trick Daddy, and Ace Hood
69. Kay Kay - Chief Keef
63. Role Model - Dolla
62. Shit Bag - Plies
61. The Show Goes On - Lupe Fiasco
47. Real Nigga Roll Call - Lil Jon and The Eastside Boyz
41. Stepped on My J'z - Nelly, Jermaine Dupri, and Ciara
34. Savage - Chief Keef
28. Corner High School - Dolla
18. Lollipop - Lil Wayne feat. Static Major
17. Straight Outta Compton - N.W.A.
5. Who the Fuck is That? - Dolla, T-Pain, and Tay Dizm
3. Love Sosa - Chief Keef

Pop (16%):
97. Never Gonna Give You Up - Rick Astley
96. Normal - Baha Men
94. Somebody That I Used to Know - Gotye feat. Kimbra
89. Ocean Man - Ween
64. Burning Love - Elvis Presley
59. They Don't Care About Us - Michael Jackson
57. Let it Whip - The Dazz Band
55. Move It Like This - Baha Men
48. Poetry in Motion - Johnny Tillotson
29. Crocodile Rock - Elton John
25. Coconut - Baha Men
24. Dragostea Din Tei - O-ZONE
23. Smooth Criminal - Michael Jackson
20. Wavin' Flag - K'naan
15. Mayor of Simpleton - XTC
9. I'm Gonna Be (500 Miles) - The Proclaimers

Techno/Remix/Other (12%):
75. Reason - Giuseppe Andrews
72. Down in the Park - Gary Numan/Tubeway Army
38. Laroo - Giuseppe Andrews
27. Electrocuted - Giuseppe Andrews
19. Metal - Gary Numan
14. The Machman - Gary Numan
13. Everything Louder Than Everything Else - Meat Loaf
12. Schmoyoho - Bed Intruder Song
10. Cars (Remix) - Fear Factory and Gary Numan
8. In the Year 2525 - Zager and Evans
4. You Play to Win the Game - DJ Steve Porter
1. Cars - Gary Numan

Comedy/Parody (4%):
95. King of Suede - Weird Al Yankovic
86. Asshole - Denis Leary
81. Hit Somebody (The Hockey Song) - Warren Zevon
6. White and Nerdy - "Weird Al" Yankovic

Folk (3%):
46. Istanbul (Not Constantinople) - The Four Lads
44. Winchester Cathedral - The New Vaudeville Band
43. I'm Henry the Eighth - Herman's Hermits Starring Peter Noone

Songs that were originally slated to be in the blog series but were replaced last minute (make no mistake, I still thoroughly enjoy these songs - maybe one day, they'll get a belated entry):

Didn't Make the Cut:
101. "Rhinestone Cowboy" - Glen Campbell
102. "Video Killed the Radio Star" - The Buggles 

103. "We Didn't Start the Fire" - Billy Joel 

104. "'Merican" - Descendants 

105. "Bad Moon Rising" - Creedence Clearwater Revival 

105. "Day 'n' Nite" - Kid Cudi 

106. "Already Gone" - The Eagles 

107. "Party Like a Rockstar" - Shop Boyz 

108. "Elvira" - The Oak Ridge Boys

109. "Rock N Roll Jesus" - Kid Rock

110. "Days Go By" - Keith Urban

I thank you once more for indulging in "The One-Hundred Songs of Steve Pulaski." It was a privilege for me to publish and illustrate. 

Song #1: Gary Numan - "Cars"

Song #1: Gary Numan - "Cars" (1979)

The Pleasure Principle

 "It's the only way to live; in cars."

The obvious question I get why I try to explain the purpose behind my blog series "The One-Hundred Songs of Steve Pulaski" is "what song will be number one?" While I refused to even hint at any song that was on the list before the writeup was released, I informed people I wasn't ranking the songs from "favorite to least favorite" or vice-versa and that the selection of what song went with what specific number was entirely random and cherry-picked by me.

Song number one of "The One-Hundred Songs of Steve Pulaski" is Gary Numan's "Cars" to solidify that fact. I have a feeling when people see that this is the song I selected to conclude the three-month-long blog series, they'll realize, "he really wasn't kidding when he said he wasn't ranking them favorite to least favorite." However, do not get that fact twisted. Gary Numan's "Cars" is still a song I hold extremely dear to my heart, arguably more-so than many choices in this blog series. For such a simple song, it evokes so many emotions and is also a pioneering force for the electronic/techno style many people my age listen to today ("EDM" for electronic dance music as it is billed today").

"Cars" was released in 1979 and was one of the most unique and different-sounding tunes to hit the American airways. Short on the "new wave" movement in American music in the 1980's, "Cars" was a song recorded heavily with the assistance of computers, synthesizers, and sound mixing, all of which were relatively primitive compared to the high-tech mixing and audio manipulation that can be found in even the most basic song today. The instrumentation in "Cars," along with Numan's modified and synthesized vocals, which sound wholly robotic and almost like a humanoid, were beyond revolutionary for the time. The instrumentation, like much of Numan's early albums, created sounds that may have never been heard before, and structuring and mixing that may have never been employed to that effect before he came around. 

All of that makes "Cars" such a deeply original and unique song in its aesthetic. As for the lyrics, they make up about one minute of the three and a half minute song. Ironically, I stated in my writeup for Kansas's "Carry on Wayward Son" (number fifty-one on "The One-Hundred Songs of Steve Pulaski") that I wasn't a big fan of songs that were almost entirely comprised of instrumentation, and now I conclude my blog series with a song that is predominately instrumentation. However, the lyrics of the song are simple, mysterious, and different, as Numan finds solace in life while he is sitting inside his vehicle. He feels safe, comfortable, and protected in his vehicle, where "the image breaks down," so he says, and questions if people would visit him if he would proceed to open his door to them. His mind races through a great deal of thoughts, so he claims, but even as he rests there, "nothing seems right in cars," he claims.

Some have said the lyrics are simply about Numan's love for vehicles, and some have even said the song is an anthem against suicide. I can't even begin to make an assumption on the meaning of the song. What I can say is this is one of the most infectious and addicting songs I've ever heard. It "Cars" has solely been an instrumentation track, like most of the songs on The Pleasure Principle album are, I would have said it's pretty unique, but Numan's simple yet complex vocals and lyricism make for a song I love indulging in at any given time (for the record, when the song comes on where I work, which is maybe once a month, my productivity increases ten-fold).

A wrap-up blog for "The One-Hundred Songs of Steve Pulaski" will follow shortly after the publication of this blog post, along with an important announcement about a follow-up series in the vein of this one. Thank you all for the support and readership of this blog series. It has been an incredible experience.

Give "Cars" a listen,  https://www.youtube.com/watch?v=qXEu1odjKZM

Song #2: Toby Keith feat. Willie Nelson - "Beer for My Horses"

Song #2: Toby Keith feat. Willie Nelson - "Beer for My Horses" (2003)

Unleashed

"Said, 'somebody's been shot, somebody's been abused, somebody blew up a building, somebody stole a car, somebody got away, somebody didn't get too far.' Yeah, they didn't get too far."

If you forced me to pick my all-time favorite country song, I think I'd have to pick Toby Keith and Willie Nelson's "Beer for My Horses." As much as I adore the country-heatbreak songs of Hank Williams, George Jones, and Merle Haggard, and I love contemporary country artists like Colt Ford and Brad Paisley, I have to pick "Beer for My Horses" for several reasons. For starters, here's a song that takes on an entire new life once you've seen the music video. The song, alone, is a masterful detailing of old police-work vs. new police-work, but the music video erects a terrific crime drama scenario that enchants and excites. In addition to giving us great music, the music video gives us a nail-biting story to latch on to, making this one of the multifaceted country songs I know of in terms of approach, and one of the most exhilarating.

Speaking in context of the music video, the song follows a serial killer near the Midtown River, an assuming area that is loaded with "corruption and crime in the streets," according to Willie Nelson in the song. We immediately drop in on a news report covering a potential fifth victim of the Midtown River murderer, a man who apparently goes after prostitutes in late hours of the night, kills them, and leaves vague trails. Toby Keith and his partner Corin Nemec have been dispatched on the case, but even with five alleged murders, they still can't develop a solid lead. Much to Corin's dismay, Toby calls Willie Nelson, his father, who used to work as an Arizona Ranger after his father influenced him when he was a young boy. Toby is convinced that Willie will help him nab the suspect, and once they travel to Willie's ranch in the middle of scenic nowhere, as the home is tucked away in grassy plains, Toby and Corin are greeted with a load of police nostalgia. They see Willie's old badge, old pictures of the force, old police equipment, and hear of stories back when Willie was an officer in his prime.

Speaking in context of the song, the song details more with the contrasting work of policemen from the early 1900's to present-day. The chorus celebrates the idea of celebrating justice, condemning violence and needless crime, and raising up ones' glasses "against evil forces" by providing your men with a shot of strong, potent whiskey and your horses with an ice-cold brew. 

Returning to the video, the video plays like an episode of CSI, but set to a fantastic country song to add to the suspense and energy. After revisiting this video for the first time in months, I still act like I did when I first saw this video at age eight, wiggling around in my seat, singing along (admittedly off-key), and just feeling the rush of nostalgic energy and enthusiasm I have always had for this song.

The song was so rooted in plot and narrative that, in 2008, a film of the same name was made. The downside, however, was the plot of the music video was abandoned, and Corin Nemec nor Willie Nelson, other than a very brief cameo, appeared in the film. Toby Keith held his own in the picture, but the magic and zest of the song was traded in for typical redneck entertainment. Nonetheless, the music video is still arguably my favorite music video of all time, and the song never fails to excite. This song is a must-hear and the video is a must-see for everyone.

Give "Beer for My Horses" a listen (and a watch), https://www.youtube.com/watch?v=o1JOFhfoAD4

Song #3: Chief Keef - "Love Sosa"

Song #3: Chief Keef - "Love Sosa" (2012)

Finally Rich

"Raris and Rovers, these hoes love Chief Sosa; hit 'em with that cobra, now that boy slumped ova."

My writeup on Chief Keef's addicting song "Love Sosa" will be considerably shorter, given the fact that I already wrote a blog concerning the Chicago-based rapper and his monstrous rise to fame, along with this particular song. To try and exercise brevity when it comes to "Love Sosa," it's one of the most infectious and satisfying rap songs I've ever heard, predominately for its brazenness and its invitation into the life of a violent and carefree teen rapper.

Keef, born Keith Cozart in the notoriously violent and gang-infested Chicago suburb of Englewood, has made clear his gang-affiliation with 3hunna/O'Block, a gang that originated in his housing project of Parkway Gardens. Keef has been unapologetic in his love for the lifestyle, rather than the typical hatred and condemnation of such a lifestyle. While numerous songs detail his lifestyle, "Love Sosa" does so in a fragmented style, meaning he uses a great detail of random, interconnected sentences in hope to achieve a banger.

"Love Sosa" shouldn't be as loved by me as it is, really. When I first heard the song, I detested it, finding its lyricism awful and its flow weak. But I had a biting urge to hear it again. Then again. Then play it to my mother. Then send it to my uncle, who loves rap music. Then I had to download it. Then I had to sing it aloud whenever I heard it. Then I had to play it on the jukeboxes in bars. Then I added it to my playlist for songs I plan to play on my ride to the first day of college. Yeah, I'm kind of obsessed.

While "Love Sosa" isn't my favorite Keef song in terms of lyricism and relevance, it is probably my favorite song in terms of its sound and production, alongside Keef and Lil Reese's "I Don't Like." Chicago-based producer Young Chop handles the production on "Love Sosa" and makes it click instantaneously, adding infectious sounds and incredible synthesizers to make an effective hip-hop song, erected off of everything the "drill" subgenre in rap is made of ("drill" is characterized by Chicago music that details violent situations with excessive vulgarity and "trap"-style instrumentation).

All I ask, like I do with every song I post, is for you to listen to "Love Sosa" and form your own opinion. Most will hate it, few will truly love it, and I doubt anyone will appreciate it quite like myself.

Give "Love Sosa" a listen, https://www.youtube.com/watch?v=pLeTLe811Wg

[Delayed Post]: Song #4: DJ Steve Porter - "You Play to Win the Game"

Song #4: DJ Steve Porter - "You Play to Win the Game" (2010)

Porterhouse Productions

"We go out, we hit people in the mouth, number one. Number two, we cannot give them the game. Number three. Hello? We suck!"

DJ Steve Porter is a DJ known for his complex and entirely immersing remixes he compiles together, usually for ESPN or "The Today Show." His remixes range anywhere from one-minute to three or four minutes, and compile a montage off the regular/post-season highlights of sporting events or of popular TV show moments. While most of his remixes are sports related, one doesn't have to be incredibly in-tune or immersed in the sporting world to just admire the incomparable artistry and talent in his remixes.

My favorite remix of Porter's is "You Play to Win the Game," a remix featuring the famous rants of NFL coaches, like Herm Edwards' famous line, which is the title of the remix, Jim E. Mora with his famous "Playoffs?" line, which has now become a regular sports soundbite, and Mike Singletary's old school rules for his then-failing San Francisco 49ers. The remix is so finely mixed, artfully constructed, and musically potent that it functions like your average song, with a chorus, specific verses, and an explosive/revealing final verse.

The song is one of my favorite motivating tunes, mainly because hearing so many people heated and speaking entirely in the moment makes on replicate similar feelings, and my go-to tune for when I'm angry or agitated (right after Plies' "Shit Bag," number sixty-two on "The One-Hundred Songs of Steve Pulaski"). Not to mention, the song compiles such incredibly musicality, to material that isn't inherently musical, which is an unbelievable achievement on part of Porter. He not only made a great song, but did so by meticulously measuring, emphasizing, and perfecting things like sound mixing, instrumentation, speed, and pitch to, in turn, make an amazing song that rightfully deserves more recognition than it has merited, even by the standards of DJ Steve Porter remixes. 

Give "You Play to Win the Game" a listen, https://www.youtube.com/watch?v=4zLlIdZikDk

[Delayed Post]: Song #5: Dolla feat. T-Pain and Tay Dizm - "Who the Fuck is That?"

 Song #5: Dolla feat. T-Pain and Tay Dizm - "Who the Fuck is That?" (2008)

The Miseducation of Dolla

"You be runnin' when I shoot, I be shootin' when you runnin', 'Kon got me out the streets, told me 'Dolla, get that money!'"

"Who the Fuck is That?" was the first song I ever heard by Atlanta-based rapper Dolla, who quickly rose to earning my title of "favorite rapper." I discovered the song by browsing through the single discography of rapper T-Pain in what was a simple bout of listlessness while on Wikipedia one day in 2008. I found a song called "Who the Fuck is That?" and marveled at the brazenness of its lyrics, but mostly, the promise and commendable effort put forth by the album's lead singer Dolla.

Dolla sings with such power on the song, living up to the standards set forth by the promising and demanding production of the song. He raps with breakneck flow and addicting choruses that prove impeccable talent for someone so young and seemingly inexperienced in the world. However, one look at the young rapper and a listen to one or two of his songs proves that he has knowledge, fluidity, and incomparable ideas that make him an effective product of his often broken and seedy environment.

He's assisted other rappers on Akon's Konvict label, which Dolla was signed to up until his tragic death in 2009, a death that still appalls and dismays whenever it stumbles across my mind. Dolla is assisted by the likes of T-Pain, who enjoyed monstrous, surprisingly long-term success from 2007 to 2009, and Tay Dizm, another rapper who is still looking for his success. With that, "Who the Fuck is That?" is a superb gem in rap music that still makes me sing aloud whenever I hear it.

Give "Who the Fuck is That?" a listen, https://www.youtube.com/watch?v=xiw9C12AolE

Song #6: "Weird Al" Yankovic - "White & Nerdy"

Song #6: "Weird Al" Yankovic - "White & Nerdy" (2006)

Straight Outta Lynwood

"I'm nerdy in the extreme and whiter than sour cream."

I was introduced to the massively talented parody artist "Weird Al" Yankovic by a friend in middle school, where I was completely amazed by his, then, most recent album Straight Outta Lynwood. Being that the only parody artist I knew at the time was Cledus T. Judd, and even he was all over the place in terms of quality, Yankovic stood out as somebody who could make a competent and hilarious parody song, while rarely making the song repetitive. He'd do things like change up the chorus, change the lyrical structure of the song, and never become too dirty in his material, effectively being a mostly-clean, genial singer who just wanted to have a little fun with mainstream.

"White & Nerdy" is probably Yankovic's most successful single in the 2000's, for I scarcely remember the last time I heard a parody song quoted so extensively and even gain airplay on the radio. The song is a parody of the Chamillionaire and Krayzie Bones' hit song "Ridin'," an intriguing gem of rap music concerning police and racial profiling. "White & Nerdy" is far less political, creating a song about the eccentric and goofy things white people do, like attend Renaissance Fairs, ride segways, and code computers for fun.

Yankovic keeps up with the breakneck speed of the song by never slowing down or pausing, and maintaining complete control of the lyrics of the song and the collection of ideas he is trying to get out there. On top of that, I'm not sure there's a better song by Yankovic to begin your descent into parody madness. The song takes a fairly popular, known song and puts an incredible creative spin on it. "White & Nerdy" kicked off a mad "Weird Al" addiction for me, as I went out and bought every single one of his albums, all of whom I still have today, and even attended his concert in Merriville, Indiana at the Star Plaza Theater with my mother on July 5th, 2008. Even with all those credentials, I'm still proud to say I listen to "Weird Al" quite frequently and consider him one of the most fun artists working today.

Give "White & Nerdy" a listen, https://www.youtube.com/watch?v=N9qYF9DZPdw

Song #7: Hank Williams - "I'll Never Get Out of This World Alive"

Song #7: Hank Williams - "I'll Never Get Out of This World Alive" (1952)

40 Greatest Hits

"Everything's against me and it's got me down; if I jumped in a river, I would probably drown."

The irony of Hank Williams' "I'll Never Get Out of This World Alive" is a soul-crushing one, as it was the final single of Williams released while he was alive, and managed to top the charts posthumously, after his death on New Years Day 1953. The song details a down-on-his-luck man, who has lost his woman, his luck, and his self-esteem, saying that he can struggle and strive for better, but still winds up having nothing and, in turn, will allegedly never get out of this world alive.

For such a dour song topic, new listeners will be surprised at the upbeat tempo the ballad carries, which easily makes it one of my favorite Williams' songs. Williams had so many songs that detailed pain so somberly and effectively that you felt you yourself were experiencing such pain, as you listened to the lyrics of the songs being sung and absorbed the music and the careful flow of his songs. "I'll Never Get Out of This World" alive sounds deceptively positive, judging by the tempo, before it hits you with some serious sadness, but manages to captivate and enchant throughout the two minutes it plays.

This was another Williams song that came into my life late my eighth grade year, where Williams' music was touching that sentimental part of my soul that I really didn't know I had. Thanks to my loving grandfather, who wound up schooling me in classic country, particularly Williams, not only was I up to date on an amazing singer, but I got an intricate lesson in where the music I loved originated; that's something we should expect from fans of particular genres.

Give "I'll Never Get Out of This World Alive," https://www.youtube.com/watch?v=w7FQeFOBtBk

Song #8: Zager and Evans - "In the Year 2525"

Song #8: Zager and Evans - "In the Year 2525" (1969)

2525: Exordium & Terminus

"In the year 9595, I'm kinda wonderin' if man is gonna be alive. He's taken everything this old Earth can give and he ain't put back nothin', whoa, whoa."

By now, in "The One-Hundred Songs of Steve Pulaski," as we near the end, I have revealed numerous ways I've been acquainted to music of the years, be it watching Country Music Television (CMT) religiously, burning CD's with my uncle, listening to music blare through my headphones as I rock on a rocking chair, or just find the songs on my own through some weird force, like work or school. The one way I haven't revealed is that frequently, always on Mondays, I sit outside with my father and we talk informally and aimlessly about life, things to do, and other such obligations and joys of life. These talks aren't as deep or as intimate as you think, but they're more than meets the eye a lot of times. The last half hour of our talks, which usually last anywhere from one hour to three hours, are usually devoted to my father wanting to hear specific songs played off my phone.

One day, we sat out back and my dad hit me with something. "Punch up on your phone a song called 'In the Year 2525' by Zager and Evans. God, what a weird fucking song. I remember when that came out. It's one of the strangest fucking things I have ever heard. You'll love it." He was correct; I still remember sitting in the darkness outside, which only intensified the creepy lyricism of the ballad. The song has no conventional structure - no chorus and no specific verses. The only consistency the song bears is beginning each line with "In the year...," starting with 2525 and continuing in intervals of 1010 (3535, 4545, 5555, etc). Following each introductory line is a statement about what state the human race will be in at that time, what technological advances have been made, and what element of scientific progress has made to further rob the world of its humanity.

The song goes on, telling of how one day we won't need our teeth or our eyes anymore, for machines are assisting us through our daily activities. We won't need husbands or wives, and we pick our sons and daughters "from the bottom of a long glass tube." The song then descends into the probable reactions of an Almighty God on a nation that has worked to rob every miracle from life and made it into a scientific project of convenience and unnatural selection. It is a scary thought, especially in a day and age where scientific progress is moving quicker and quicker.

"In the Year 2525" is a special case in music history, being about the condemnation of scientific advancement and being released in 1969, the same year as Neil Armstrong walked on the moon (the song was number one on the charts during that event). Furthermore, this is also the rare case where a song by a new artist made number one on the charts but subsequent releases by the artist never did so much as chart again. That's right, Zager and Evans are the very definition of a one-hit wonder, soon fading into complete obscurity and pursuing other ventures that weren't in the mainstream music industry following the monstrous success of their sole song. 

I love the song because not only is it a number one hit song few would remember today, but because Zager and Evans seem to predate Gary Numan, who faithful readers of this blog series know has already made three appearances. Zager and Evans, like Numan, speak of the darkside of technology in the midst of all the greatness that stems from it, and just like Numan, they provide the song with their own style and sound, Right now, however, "In the Year 2525" is a curious piece of history, but I'd like to think that if technology continues to advance at unforeseen rates, this song will come out of the woodwork and make it back into the mainstream again.

Give "In the Year 2525" a listen, https://www.youtube.com/watch?v=7lWzTvdtEx0

Song #9: The Proclaimers - "I'm Gonna Be (500 Miles)"

Song #9: The Proclaimers - "I'm Gonna Be (500 Miles)" (1988)

Sunshine on Leith

"And when the money comes in for the work I do, I'll pass almost every penny onto you."

One bad habit I have is, during the school year, when I go to sleep around 9pm or 9:30pm and wake up at 4:30am (for extra time in the morning, before you even flinch to ask), waking up anywhere from 12am to 3am, unplanned, with no alarm, and turning on the TV and watching infomercials for a brief time before going back to the bed. I'm fully conscious and alert, so I'm not sleepwalking, but it has become an unplanned, disorganized ritual; I'll go downstairs and get a glass of chocolate milk and return to my bed, sitting in the glow of my TV screen watching whatever happens to be on (be it some random car/product infomercial or Live Prayer with Bill Keller).

One night in September 2010, I awake around 1:15am, get my glass of chocolate milk, and rush back to my bedroom to catch some Family Guy. In the episode, a cutaway gag reveals Peter Griffin singing backup for the band The Proclaimers, the famous Scottish twin brothers known for their monstrous hit "I'm Gonna Be (500 Miles)," which turned into an international favorite. The brief cutaway gag shows Peter singing the song before interrupting The Proclaimers' recording session, thinking they interrupted his singing. Immediately then, I had to grab my phone and find the song; it was infectious and unlike anything I've heard.

"I'm Gonna Be (500 Miles)" is a goofy love song, about a man so head-over-heels in love with a woman he'd dare make a five-hundred mile odyssey on foot, or even a one-thousand miles round-trip marathon, just to be the man who walks one-thousand miles to the front door of the woman he loves. The song has a strange vibe to it, with The Proclaimers' thick Scottish accidents coming through with every line of the song, with the lyrics of the song continuing to get quirkier and quirkier as it goes on. The song is a masterclass of offbeat romance songs and shouldn't go unheard.

That freshman year, I played "I'm Gonna Be (500 Miles)" over one-hundred times on my phone, almost going forth with making a music video for it for my Television class, which I was taking at that time. Needless to say, I still know all the words and brazenly blast it through my car speakers or my headphones to this day, be it 1pm or 1am.

Give "I'm Gonna Be (500 Miles)" a listen, https://www.youtube.com/watch?v=XZ4Ib-7fJqY

Watch the "Family Guy" clip featuring The Proclaimers (the same one mentioned above), https://www.youtube.com/watch?v=ahMjV3ku4qw

Song #10: Fear Factory feat. Gary Numan - "Cars"

Song #10: Fear Factory feat. Gary Numan - "Cars" (1999)

Obsolete

"Here in my car, nothing seems."

IMPORTANT NOTE: As hard as it is for me to believe, we have reached the final ten songs of "The One-Hundred Songs of Steve Pulaski" blog series and, on September 8th, 2014, the final writeup will be published. There will be more in the vein of a "music dedicated" blog series from me, I can assure you, but I digress. I make this brief note to say that these next ten songs have a more significant, clearer meaning to me than the previous. The previous ninety mean a great deal to me, so much so that the magic is hard to articulate in words, but these next ten songs hold a solidified, incorruptible place in my heart. While this series is not ranked in any way, not even these next ten songs, all I can ask is you read these next ten blogs with a greater sense of seriousness than you may have given the last few blogs. Enjoy; I will release a small "statistical" blog for "The One-Hundred Songs of Steve Pulaski" on September 9th, 2014.

SONG #10: When it comes to remixes of some of my favorite songs, most are just played once before they're quickly forgotten and never listened to again, on the count of my dissatisfaction with the remix or my complete indifference. Others are kept around on my phone for that special time they're needed, but that special time only comes every once in a while. A select few number of remixes hold a prominence on my phone's playlist and the most played remix on my phone is of Gary Numan's "Cars," which is put together by an alternative rock band called Fear Factory.

The remix of "Cars" provides more of a nu-mental, punk feel to a song that was firmly implanted in the techno genre of music, and blends the vocals of the band's lead singer Burton C. Bell with the cold, detached vibes brought forth by Gary Numan. The song is a masterclass of metal and techno, brought together to create a forceful song that often helped score the kind of hangout my friend Mike and I began having in the fall/winter of 2013. The hangout was simple and effective, where we'd often cruise the streets of our neighborhood, hitting all the common places for teenagers (Best Buy, White Castle, and Goodwill), while using time in his Mustang or his father's Jeep to blast music and be as raucous as we could. The remix of "Cars" enthusiastically helped better an evening, mainly because it was such a fun song to listen to and that it pumped so well through bass-heavy speakers.

Expertly-produced, with the sound carefully mixed and the vocals timed nicely, it's a wonder why Fear Factory's rendition of "Cars" doesn't get as much recognition as the remixes of other songs.

Give "Cars" a listen, https://www.youtube.com/watch?v=_Pa-95S7Hvg

[Delayed Post]: Song #11: R.E.M. - "The One I Love"

Song #11: R.E.M. - "The One I Love" (1987)

Document

"This one goes out to the one I love..." 

If I could pinpoint one particular chorus in music that I felt was sung so powerfully, so contemplatively, and so mysteriously that it deserves an award in itself it has to be the chorus of "The One I Love," sung by Michael Stipe of R.E.M.. The chorus's words send shivers up my spine each time, and provide the perfect soundtrack and mood for an intimate evening with me and a cigar.

Since I first heard "The One I Love," stocking liquor at the good ol' liquor store where I work, I was instantly mesmerized by the chorus, its sound, and the way the song flowed. The nine-word phrase that is spoken at the start of the chorus made it so all I could do was stop, think, and listen to the words, spoken in such a dark and chilling way. This couldn't be a love song; it was far too dim and moody.

Contrary to the conception of the people who foolishly request this song and dedicate to their sweetheart on oldies radio, "The One I Love" is a song about using and mistreating people. This is affirmed by the follow-up line to Stipe's chorus-introduction by saying, "a simple prop to occupy my time," modifying the alleged soul he loves into somebody not an object of his desire but an object of his momentary satisfaction. When he's done with that prop, he'll move on to another, and another, and hopefully one day recognized the loneliness and emptiness that misusing people brought onto him.

"The One I Love" is an incredible ballad about self-reflection and momentary contempt of oneself, before our subject likely returns to his same old ways. There's little else to say besides that this blog goes out to those who've misunderstood.

Give "The One I Love" a listen, https://www.youtube.com/watch?v=C0rBNf-sIvU

Song #12: The Gregory Brothers feat. Antoine Dodson - "Bed Intruder Song"

Song #12: The Gregory Brothers feat. Antoine Dodson - "Bed Intruder Song" (2010)

"Bed Intruder Song" - Single

"You don't have to come and confess; we lookin' for you, we gon' find you, we gon' find you!"

I have yet to really declare this publicly, or express such an interest in this subsector of music, but, since freshman year and my entire sophomore year, I have been something close to obsessed with music that was made out of something that's original form wasn't music. With the rise of the internet, we've seen creativity, activism, and personal thoughts flourish incalculably, and we've seen music and remixes being made from news broadcasts, press conferences, and interviews, or stuff that wasn't musical in its original form.

There are two driving forces behind this kind of music-making, and they are The Gregory Brothers (with their line of "Songifying" originally non-musical things and their immensely successful series online "Auto-Tune the News") and DJ Steve Porter, ESPN's main-DJ, who compiles remixes and songs out of sports interviews, press conferences, and even does musical renditions featuring highlights of sports seasons for the NBA, NFL, and NHL.

The Gregory Brothers' "Bed Intruder Song" is one of two songs in the category of "remixes" that shows up on my "One-Hundred Songs of Steve Pulaski" blog series. Ever since I heard this song my freshman year, I had to play it on repeat about a dozen more times; I loved the unique qualities of it and the fact one could take something that didn't have a trace of musicality in it and make it so.

The "Bed Intruder Song" was made from a news report that took place in Alabama, about the attempted rape of a young woman named Kelly Dodson. While Kelly was the victim, the most prominent voice in the news report became Antoine Dodson, her brother, who gave an animated and quietly funny interview while expressing anger over his sister's attempted rape. The Gregory Brothers, a popular group known for taking news broadcasts and turning them into music on Youtube, saw the video, and soon after, released a short version of the song before putting up a full-length version on iTunes.

What amazes me each and every time I listen to "Bed Intruder Song" is how it plays like a real song, with specific verses, choruses, and structural soundness rather than acting as a jumbled remix. Not to mention, when one considers all the effort put into pitch, tone, and creating an instrumental to make the remix sound just right, the amount of time and effort put into the song could practically match a real, studio-produced song. "Bed Intruder Song," while an amazing work of artistic creativity, is still not my favorite one of these remix videos I have yet to see. Stay tuned...

Give "Bed Intruder Song" (the full version) a listen, https://www.youtube.com/watch?v=VKsVSBhSwJg

Song #13: Meat Loaf - "Everything Louder Than Everything Else"

Song #13: Meat Loaf - "Everything Louder Than Everything Else" (1993)

Bat Out of Hell II: The Monster is Loose

"If you want my views on history, then there's something you should know - the three men I admire most are Curly, Larry, Moe."

I feel I made great use of the Meat Loaf song "Everything Louder Than Everything Else" my senior year in high school, when I was assigned a "video story" project where I would compile a collection of pictures, text, and music together into a brief short with the ultimate goal being to try and string along a theme or an overarching idea. My presentation was different from the remainder of the class because it was more about showcasing teenage nihilism and emphasizing that imperfections are our reality. I was heavily inspired by the invaluably honest and cutthroat works of director/photographer Larry Clark and director Harmony Korine, two men who I consider incredible influences in my life, and "Everything Louder Than Everything Else" really amplified the idea of living in the moment and living a "wasted youth," which I heavily depicted in the video project.

"Everything Louder Than Everything Else" is a powerful song in every sense of the word, with Meat Loaf, in my opinion, singing as powerfully as ever, articulating the unfathomable stress and complications that plague the life of the every day teenager. Meat fills an eight minute song with some of the most exhilarating social commentary I have yet to hear on teenagers, breathlessly detailing their mindset of living in the moment and ignoring existential questions in favor of receiving immediate gratification. The song is a masterclass in adolescent study and far too underrated.

Meat only makes his point by communicating such a message in a way teenagers can hear it, through loud guitar riffs, boisterous production, and headbanging instrumentals that almost result in auditory-whiplash. "Everything Louder Than Everything Else," just from its title, sums up the average teenager's "live fast, die young" mentality, and truly compliments the 1990's era rock, which was fun-loving and enticing to listen to, providing unforeseen levels of energy and explosive excitement. This is one of the best songs about youth that I know.

Give "Everything Louder Than Everything Else," https://www.youtube.com/watch?v=evIhduAT2f4

Song #14: Gary Numan and Tubeway Army - "The Machman"

Song #14: Gary Numan and Tubeway Army - "The Machman" (1979)

Replicas

"Yellow newspapers tell the story of someone; "do you know this man?," tomorrow the cure."

As I mentioned in my writeup for Gary Numan and Tubeway Army's "Down in the Park" (number seventy-two in "The One-Hundred Songs of Steve Pulaski"), Gary Numan entered my life in a strange time, the summer before I went into my junior year in high school. At that time, my popularity was beginning to take off and I was experiencing social confidence and energy like I never had before. However, my nights were always spent alone, listening to music in my headphones in the wee hours of the morning, alone with my thoughts in the glow of my TV, the only sound coming into my ears was the music through my noise cancelling headphones and my mind was crowded with biting thoughts about school, college, and the future. Keep in mind, this was summer, so stress was at a minimum for me.

Fast-forward to the present, where I'm just two weeks away from starting college, and each night I find myself doing the same thing I described above. Although if I thought my mind was full that summer and the following summer, I could've never imagined I'd have as much on my mental plate as I did now. At least twice a week, I'll throw on Gary Numan, as he reminds me of myself in a basic sense, bearing a lot on his mind, struggling to find the words to help articulate his fears, and stating them in a heavily vague and metaphorical way in his songs.

His tune, accompanied by the unique and incredibly-advanced sounds of his short-lived band Tubeway Army, "The Machman" fools with its more upbeat-tempo than his darker songs like "Down in the Park," but if one pays attention to the lyrics, their structure, and their delivery, they find yet another brooding anthem in the career of Numan. "The Machman," from what I can decipher, concerns an ostracized, isolated young boy, who is abducted by a robot or a machine humanoid (what a "machman" is) in order to join him in his journey of restlessness in life. Numan's character then speaks of the "yellowed newspapers" (a line I love) that state the boy's missing person status as well as the suspect in question, but little do they know, that this "machman" isn't a harmful being, but someone who, through isolation and alienation (no pun intended) has helped a young boy see that he isn't alone, despite being two totally different species.

I wouldn't be surprised if that meaning is way off, but because of Numan's ambiguous and stylistic approaches to building verses, it's hard to feel like you've pinpointed any meaning in his songs. That's why we have the sound and the unforeseen instrumentation on his songs to turn towards, which provide us with sounds and mixing that seems just as alien as the concepts Numan speaks off. "The Machman" was initially going to be the Gary Numan song on "The One-Hundred Songs of Steve Pulaski" blog series that I had little conception of, an was due to be a short, direct blog-post. You can see how well that turned out.

Give "The Machman" a listen, https://www.youtube.com/watch?v=7rWc0pATrhI

Song #15: XTC - "Mayor of Simpleton"

Song #15: XTC - "Mayor of Simpleton" (1989)

Oranges & Lemons

"What you get is all real, I can't put on an act, it takes brains to do that anyway."

XTC's "Mayor of Simpleton" is one of the most romantic songs I've ever heard, and is a necessary listen for people still under the belief that looks or intelligence is the sole quality their future significant other need possess. The song is sung in the first person, concerning a man who is in love with a woman who is way out of his league in the intelligence department. She seems to be a university scholar, with a group of likeminded friends that value intelligence in the people they associate themselves with.

Our singer, however, isn't the brightest bulb in the closet, and he knows that. What's touching is his level of emotional intelligence, as he recognizes his middling amount of institutional intelligence, but boldly reminds the woman he's in love with what he could offer her in terms of true love and emotion. The character illustrates these feelings through a method of stating what he isn't good at, metaphorically referring to himself as "the Mayor of Simpleton," but reminding the woman that he's wise enough to know one thing and that thing is he loves her deeply.

I identify a lot with this song, not so much in the regard that I view myself as stupid, but someone who is academically average, at best, struggling with various mathematical and scientific concepts, otherwise known as the driving force of today's world. Even my favorite fields, English, sociology, film, media, and politics, confuse the hell out of me occasionally. What I can provide people, however, is a pleasant sense of humanity and acceptance if they are kind and open to me.

"Mayor of Simpleton" is one of the most moving, upbeat romance songs I've ever heard, reminding us of the power, capacity, and invaluable qualities of the human spirit, which should, but often do not, hold higher prominence in people's minds than intelligence. The qualities of love, hope, and emotions and our ability to communicate and express them are what makes us imperfectly human, which is what "Mayor of Simpleton" manages to remind us with a romantic ballad that is simply wonderful in every regard.

Give "Mayor of Simpleton" a listen (the UK version, which I find superior to the US version), https://www.youtube.com/watch?v=9t2j8NcVpW4

Song #16: Joe Walsh - "Life's Been Good to Me"

Song #16: Joe Walsh - "Life's Been Good to Me" (1978)

But Seriously, Folks...

"I can't complain, but sometimes I still do, life's been good to me so far."

I've heard numerous different versions of Joe Walsh's smash-hit "Life's Been Good to Me," from the original vinyl rendition, to the radio edit, to the full-cut on the album and Youtube, and even live from Joe Walsh himself at The Eagles concert I attended back in October 2013. Each time I hear the song, I recall my own personal life, my brief stint in the popularity "limelight" in high school for my film reviews, and contemplate all I've been graced with in a way that is amazingly self-reflective and quietly therapeutic.

"Life's Been Good to Me" is a lengthy masterpiece of a song, from the long-stretches of instrumentation that don't feel like they're subtracting from the lyrical poetry of the song, to the humorous and often referential lyricism that Walsh employs. The song is a reminder of living in the rock limelight, how some are more fortunate than others, and even references real-life events and run-ins other rock stars had in the 1970's, when this song was written.

My favorite line is and always will be the one I quoted above, which I often recite and provide my own personal spin on it when in a conversation with people. It's one of the most honest lines about humans that I've heard. We all love to complain, even if we really shouldn't, and even in a state of satisfaction, contentment, or the rare but pleasant indifference, we still have the gall to whine about the most petty things. Walsh sums that up beautifully in his song, which is one of the most insightful rock songs that dives into the human spirit.

Give "Life's Been Good to Me" a listen, https://www.youtube.com/watch?v=BXWvKDSwvls

Song #17: N.W.A. - "Straight Outta Compton"

Song #17: N.W.A. - "Straight Outta Compton" (1987)

Straight Outta Compton

"As I leave, believe I'm stompin', but when I come back, boy, I'm comin' straight outta Compton!"

If there were ever a song on "The One-Hundred Songs of Steve Pulaski" that needed virtually no explanation and could easily exist with just the above information, it's probably N.W.A.'s bestselling single "Straight Outta Compton." To put it simply, and to exercise brevity, this is one of the strongest, most cut-throat rap songs ever made, showcasing the talents of multiple young men in one graphic and detailed song about growing up in a violent part in Los Angeles.

It was "Straight Outta Compton" that set the bar for West Coast Rap in the middle of brutal "coast wars" when it came to rap music. It was "Straight Outta Compton" that showed the true power, not just one, but up to five or six rappers could have on a single track. And it was "Straight Outta Compton" that brought mainstream audiences aware of the violence, criminal activity, coldness, and pulsating fear that lurked in the poverty-stricken neighbors all across America.

"Straight Outta Compton" has been a go-to anthem of mine for its energy as well as its display of culture, and I guarantee you I'll keep coming back for more, as this, while one of the granddaddies of the genre, is also one of my personal favorite rap songs of all time.

Give "Straight Outta Compton" a listen, https://www.youtube.com/watch?v=eZqZschnrxM