The Year 2021 in Music

Continuing with our year in review, Matt Lynn Digital invites you to look back at the last year in reviews of books, movies, music and television. We look at these with individual categories, one per day through Friday. Today we share music reviews offered by Matt Lynn Digital in 2021.

(The 2006 album The Open Door by Evanescence opens our look in 2021 album reviews).

We looked into the Evanescence album The Open Door in September, marking an anniversary for the second studio album for the band. Amy Lee leads the vocals for Evanescence, looking into the connection Lee had with a former love interest as well as the fans of the band. The album looks further into early life experiences, loss and the finding of meaning through the course of life that the band explores with us through the experience.

(We reviewed the 1996 album Recovering the Satellites by Counting Crows in October).

The Recovering the Satellites album by Counting Crows responds to unexpected success and the adulation that, like with Evanescence in dealing with their debut album, offered some emotional feedback to the fanbase. The interpersonal for the Counting Crows and their lead singer and lyricist Adam Duritz, after acknowledging the fans appreciation, tends less with a romantic relationship lost than to an eagerness to connect on an individual level. Recovering the Satellites, like with The Open Door, seeks direction in the emotional realm.

(August brought us the review of the 1996 album Dust by Screaming Trees).

The 1996 album Dust followed 1992’s Sweet Oblivion for Screaming Trees, a band that in my humble opinion deserves a higher level of acclaim than they physically achieved. The thematic references to biblical passages in speaking to contemplations of death. Whether the band was thinking of directing their aspirational reach personally, within the genre of grunge music they played, or the death of Kurt Cobain as with the song Dying Days, there is a gloom that pervades the album. That experience, in all its depth, feels like the point of the album Dust.

(Matt Lynn Digital shared the David Foster produced album The Christmas Album, from 1993, in December of 2021).

The Christmas Album of 1993 by David Foster featured songs performed with stars, including Vanessa Williams, Céline Dion, Natalie Cole and Wynonna Judd. The album’s mood combines secular and religious feeling with a respectful admiration for the season underpinning the songs offered.

(March brought the Matt Lynn Digital sharing of the album Ten by Pearl Jam).

A hit album of the grunge genre characteristic of the early 1990s is Pearl Jam‘s 1991 album Ten. Grunge was the style of the day, as was a confessional storytelling notion that included homelessness, divorce, remarriage, stepparents and emotional health concerns for school age kids. Coping with notions of bullying or scorn, the song Jeremy takes perhaps the harshest response to the trauma of any song on the album.

(The post-punk, alternative stylings of R.E.M. with the 1991 album Out of Time).

The post-punk, alternative sound of the band R.E.M. were permitted a spotlight with the album Out of Time in February of 2021. The composition and sequencing of the songs with Out of Time were artfully done to offer the careful listener a crafted argument against themes strictly of sex and violence. The album speaks to notions of self-defining depth in love, political awareness, relationships with parents and other intimates, and differing perspectives on pregnancy.

(The 1986 album Licensed to Ill by Beastie Boys was reviewed by Matt Lynn Digital in November of 2021).

The debut album Licensed to Ill for Beastie Boys fused hip hop and hard rock when created in advanced of the album’s November of 1986 release. The incorporation of the hard rock influence with sampling conventions in hip hop made for a successful launching of a sounds that already existed separately, broadening an appeal for audiences that sensed they wanted a sound while waiting for the proper audio clues. Licensed to Ill would become the first #1 album that also was in the hip hop genre.

(Matt Lynn Digital offered a look into the 1985 album Scarecrow by John Mellencamp in July of 2021).

John Mellencamp offered a look into small town America with the 1985 album Scarecrow. The social concern that came through for Mellencamp with this album looked into taking advantage of farmers making a living on their land, modest living outside of steel mills, and the strong connection Mellencamp himself felt for the heartland of the United States.

(The 1982 self-titled album Asia by Asia earned a look by Matt Lynn Digital in March of 2021).

Asia formed as a super band formed from parts of King Crimson, Emerson, Lake & Palmer, Yes and Buggles to create an album named after the new band itself, namely Asia. The interplay of Heat of the Moment and Only Time Will Tell in offering an apology for poor behavior and a realization of lost love announce a thematic direction for the 1982 album. The notion of love’s sting later drifts into questions of class in military service, feeling seen in professional and relationship pursuits, and finally growing through experience to see life more fully.

(Matt Lynn Digital offered a look into the 1971 James Taylor album Mud Slide Slim and the Blue Horizon in January of 2021).

A calm, understated style greeted our ears with the 1971 album Mud Slide Slim and the Blue Horizon by James Taylor. You’ve Got a Friend remains a meaningful song for me from the album, with the song itself originally being written and recorded by Carole King. The song reflects on the practical quality nature of friendship, trust and the permission to be vulnerable in a safe space. This album resonates for me on these terms.

(The 1971 album Aqualung by Jethro Tull was reviewed by Matt Lynn Digital in May of 2021).

The album Aqualung by Jethro Tull was released in March of 1971. The album itself questions the orthodoxy of formal religion while maintaining a belief in God. Notions of justice are questioned through the music, as well as the role of humanity in the conduct of those purposes. The questions raised in this album are quite relevant to the human experience.

(The 1968 album Now He Sings, Now He Sobs by Chick Corea was reviewed shortly after the musician’s death in February of 2021).

The Chick Corea album Now He Sings, Now He Sobs released in 1968. Matt Lynn Digital looked into this album shortly after Mr. Corea’s death in February of 2021. The album itself offers five songs of Jazz, which is the style of the pianist played in.

Matt Lynn Digital appreciates your continued interest in the content we offer. Should you have albums that you’d like us to review, or similar work to that mentioned above, please be sure to let us know.

Matt – Wednesday, December 29, 2021

Beastie Boys and the 1986 album ‘Licensed to Ill’

The debut album for Beastie Boys released on Saturday, November 15th, 1986. Mixing a hip hop and hard rock fusion that appealed to many, the album Licensed to Ill turned 35-years young this week. The muscular mixing of sounds landing the band a top selling album and the beginning of a career that landed the band in the Rock & Roll Hall of Fame in 2012. Today we look at the Licensed to Ill album itself.

(A close-up look at the Licensed to Ill album cover of the Beastie Boys. Licensed to Ill was released on November 15th, 1986).

Rhymin & Stealin opens Licensed to Ill with a sample of John Bonham‘s drum introduction from Led Zeppelin‘s song When The Levee Breaks. Adding samples of Black Sabbath‘s Sweet Leaf and I Fought the Law by The Clash, a definitive announcement for the band’s sound with a direct statement for the band’s approach announced a hello with authority and clarity.

The New Style flips the script in being sampled generously, including a dozen years later about 2.5-minutes into the song Intergalactic. The song uses parts of five songs with irreverent, provocative and quick lyrics while stamping their musical style onto the hearts of many fans.

(The third single released in support of Licensed to Ill by Beastie Boys was The New Style).

She’s Crafty follows The New Style on Licensed to Ill, sampling the song The Ocean by Led Zeppelin. The craftiness refers to Lucy’s misrepresentations of her background coupled with the fact that there is a definite intimacy interest underlying the continuing momentum for the song.

Posse in Effect sampled a rhythm and blues sound with its biggest audience connecting being in the way that it encouraged people to dance.

Slow Ride samples the songs Low Rider by War and Take the Money and Run by Steve Miller Band while sharing a song title with a song by Foghat.

(Girls was the seventh and final single released in support of the Licensed to Ill album by Beastie Boys).

Girls by Beastie Boys started out as a song whose sound was inspired by The Isley Brothers‘ song Shout. We learn from Song Facts that Girls “is so outrageous in its misogyny that it is clearly satire.” The song was the seventh and final single released from Licensed to Ill.

I distinctly remember singing (You Gotta) Fight for Your Right (To Party) with my friends while growing up. The song starts with the elongated chord of a guitar followed by the lyrics “Kick it!” Back when the network played music, this song received frequent exposure on MTV (Music Television) for the band.

(The sixth single released in support of the Beastie Boys‘ album Licensed to Ill was No Sleep Till Brooklyn).

No Sleep Till Brooklyn offered a much strong traditional rock sound, landing as the sixth single released for Licensed to Ill. The song title plays on the Motörhead live album titled No Sleep ’til Hammersmith. The song itself charted better in the United Kingdom than in the United States, per Songfacts.

The song Paul Revere pokes fun at the notion of Paul Revere‘s ride in offering a fictional account for how the members of Beastie Boys met. I immediately thought of the Henry Wadsworth Longfellow poem Paul Revere’s Ride when first seeing the song title way back when. Learning that the song title came not from the poem, the historical figure Paul Revere nor the midnight ride of Paul Revere made this song a bit comical for me. The song title came from a horse ridden by band member Adam Horovitz (also known as Ad-Rock).

(The first single from Beastie Boys to be released in support of Licensed to Ill was Hold It Now, Hit It).

The first single released in support of Licensed to Ill by Beastie Boys was Hold It Now, Hit It, including samples of Take Me to Mardi Gras by Bob James, Funky Stuff by Kool & The Gang, The Return of Leroy Pt. 1 by The Jimmy Castor Bunch and others.

Brass Monkey references an alcoholic drink including rum, vodka and orange juice mixed over ice. The song samples the song Bring It Here by Wild Sugar. The term ‘brass monkey’ is thought to come from an explicit figure of speech that you can reference by clicking here.

(From left to right are Beastie Boy members Mike Diamond, Adam Yauch and Adam Horovitz (also known as Ad-Rock).

Slow and Low samples Flick of the Switch by AC/DC and 8th Wonder by The Sugarhill Gang. Like with the full scope of Licensed to Ill, the mixing and production were key to creating something new, which really cements part of the new style within the hip hop and hard rock tradition that Beastie Boys were making with this album. The accomplishment here is clear.

Time to Get Ill samples I’m Gonna Love You Just a Little More Baby by Barry White, Down on the Corner by Creedence Clearwater Revival and Gucci Time by Schoolly D. The song references actress and comedian Phyllis Diller along with the television show Mister Ed (1958-1966). That the song is a bit tongue in cheek brings us back to the rhymes, the attitude and the licensing that informs the album title Licensed to Ill.

Matt – Wednesday, November 17, 2021

Thirty years and the R.E.M. album ‘Out of Time’

It was thirty years ago next month that the album Out of Time by R.E.M. was published. The band itself was at the height of its popularity, having grown beyond their post-punk, indie college appeal into an alternative rock sound that is as distinctive with the Out of Time album as with any they made. Enjoy the ride as we look under the covers today.

(The R.E.M. album Out of Time was first released on March 12, 1991).

Radio Song opens the album and features hip hop artist KRS-One. In a song that sounds unlike anything the band had produced before, the song gets into how the message of music on the radio speaks of sex and violence without giving anything aspirational to get behind.

As if to dash expectations of the sound of the album, grammy award winning song Losing My Religion offers perhaps as distinctly an R.E.M. sound as any song on the album. The song itself gets into themes of losing faith in a person that is the object, even obsession, of an unrequited love that the singer translates into experiencing a loss of faith.

(From left, Bill Berry, Mike Mills, Peter Buck and Michael Stipe of R.E.M.).

Low follows as an emotional realization that the desired reciprocation of love from Losing My Religion is not meant to be. The narrative perspective attempts to turn a brave face to the coming of age perspective while turning by songs end into a new emotional and tangibly specific wish.

Near Wild Heaven flips the passionate, wishful script of Low, beginning with an imagining of a desired love actually returning with the cool comfort of affirmation. Things quickly flip to doubt, and a request seemingly focused on the singer aiming to convince himself that the one true love that will have his back is himself.

(R.E.M. released the Out of Time album on March 12, 1991).

Endgame might not have the popular appeal of other songs from the Out of Time album, yet plays as a lullabye instrumental with minor voicing as an accompaniment to the larger experience. The song is perhaps felt from this perspective.

Shiny Happy People was the second single from Out of Time released in America, after Losing My Religion. Kate Pierson of the B-52s sings on this song, also being featured prominently in the song’s official video. As noted by this Song Facts background piece for Shiny Happy People, this song is meant satirically as a response “two years after the Tiananmen Square uprising when the Chinese government clamped down on student demonstrators, killing hundreds of them.”

Belong is a song about the bond between a mother and son, as explained by Michael Stipe in an interview in Q (a magazine) as referenced here. The song itself is “someone else commenting on the sense that the bond between a mother and child is the most powerful love of all.”

(Michael Stipe of R.E.M. performing live in the Netherlands on March 11th, 1991).

The song Half a World Away resumes to a classical R.E.M. sound in returning to themes of sadness and angst. The self-reflection of burden and loneliness are thematically strong.

Texarkana returns to an uplifting, light sound akin to Shiny Happy People. Thematically the song sings of wistful dreaming towards an aspiration that the singer hopes to have happen to him. That aspiration is a hope for love that ties like a bow to the notion of catching him if he falls. Where might he be falling? My answer is love … the singer wants, hopes, craves falling in love.

Country Feedback by R.E.M. sonically mellows out the spirit of the Out of Time album. The song itself returns to a theme that pervades the album, one of a maddening feedback loop of failed relationship, breakdowns (whether real or imagined), and the notions of turning things into focused hurt or help. There’s a definite somber country feeling to the song itself.

(From left, Peter Buck, Michael Stipe, Mike Mills and Bill Berry of R.E.M.).

Me in Honey closes the Out of Time album with Kate Pierson again contributing vocals. Micheal Stipe indicates here that this song answers the song Eat For Two by 10,000 Maniacs, both offering a differing perspective on pregnancy. The exploration of feelings in taking stock of an unplanned pregnancy, as Me in Honey does, are definitely revealing of where songwriter Michael Stipe was in the moment.

Matt – Saturday, February 27, 2021