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

John Mellencamp and the 1985 album ‘Scarecrow’

John Mellencamp was still using the name John Cougar Mellencamp when the outstanding 1985 album Scarecrow was published. We at Matt Lynn Digital decided to revisit this small town America tribute. Click through to the songs as we share the songs and some thoughts we have for what we consider a great album, originally published on August 5th, 1985.

(This is the album cover for the 1985 John Mellencamp album Scarecrow, which featured  top ten United States singles Lonely Ol’ Night, Small Town, and R.O.C.K. in the U.S.A.).

Rain on the Scarecrow opened the album Scarecrow. Having charted as high as 21 in the United States per Songfacts, the song announces a social consciousness for farming that defines the album sensibility along with the concerns of Mellencamp himself.

Grandma’s Theme offers a small sense of parenthood, responsibility and a sense of the different pulls of expectation when living a salt-of-the-earth, honest life.

Having charted at 6 in the United States and 53 in the United Kingdom, Small Town offers insight into Mellencamp‘s experiences growing up in Seymour, Indiana. The song has a catchy baseline with a commonplace perspective of wishing to be left alone to fine one’s own way in growing up to be just who people want to be.

(The cover for the single Small Town, as performed by John Mellencamp on the album Scarecrow).

Minutes to Memories continues to catch a perspective of what it was like to live a life in small town, USA. The perspective here is working in steel mills of Gary, Indiana on the northwest part of that state. The perspective is one of hard work and modest living, birthing memories and attitudes that form an attitude of determination about life.

The song Lonely Ol’ Night charted sixth in the United States. In harkening back to The Four Tops song Standing In The Shadows Of Love, and in making its own statement about hoping for love, hopeful yet wistfulness come through strong in offering a distinctively Mellencamp sound.

(The cover for the single Lonely Ol’ Night, as performed by John Mellencamp on the album Scarecrow).

The Face of the Nation harkens back to a rockabilly sound acknowledges the difficulty of broken dreams and the stalwart quality of character the hard times build. A definite thought I hear is to look into the mirror the see precisely the title of this song.

Justice and Independence ’85 took a unique approach to telling the story of a love affair by personifying the abstract notions of Independence, Justice and Nation as a couple birthing a baby. Extending the metaphorical notions of the political into the familiar notions of family made for an interesting notion for making a political statement calling for unity.

Between a Laugh and a Tear calls out the perspective of living as we age slightly past the immediate thrill of learning who we are. The perspective again is the feeling of life and a sense for what the dreams and connectedness of living has to offer. Rickie Lee Jones also sings on this song.

(A publicity shot of John Mellencamp from 1985, in support of the album Scarecrow).

With a perspective of impending disappointment established with Between a Laugh and a Tear, Rumbleseat brings home a message about the true feelings of getting on with life and finding a zest for life after the world has grown up and moved on. In aiming for that sense of feeling, are you ready to make the adventure happen?

You’ve Got to Stand for Somethin’ offers a sense of the song Rain on the Scarecrow for me, with the sense of self for Mellencamp that comes from being his father’s son and the grandson of his father’s father. Add a blue collar sense for standing up and pushing back, you have a measure of John Mellencamp.

R.O.C.K. in the U.S.A. offers a sense of different styles of Rock & Roll from the 1960s that John Mellencamp enjoyed listening to as a kid. The song salutes Frankie Lyman, Bobby Fuller, Mitch Ryder, Jackie Wilson, The Shangra-Las, The Young Rascals, Martha Reeves and James Brown. R.O.C.K. in the U.S.A. charted second in the United States and sixty-seventh in the United Kingdom.

(The cover for the single R.O.C.K in the U.S.A., as performed by John Mellencamp on the album Scarecrow).

The Kind of Fella I Am closes out Scarecrow by declaring that the blue collar, small town sensibility John Mellencamp has sung of reflects who he is. In talking of being a jealous guy wanting focus on him, with who he is and what he wants, essentially gets to the man he wants to be in love and life. That the sensibility translates to his message in politics and lifestyle through the album Scarecrow speaks to who Mellencamp is overall.

Matt – Saturday, July 03, 2021

The Year 2020 in Music

Matt Lynn Digital focused on reviewing music related material deliberately in 2020. Today we walk down memory lane for reviews made in 2020. We’ll refresh your memory first of album reviews in reverse order of album release, which is to say most recent first. We’ll then remind you of a couple of nostalgia moments that were of our own making. Finally, we’ll point you to films with some moviemaking hands thrown in.

(The album McCartney III joins Letter to You as the two albums we reviewed for the new decade, which we’re saying is the Twenty Twenties).

The 2020 album McCartney III by former member of The Beatles and Paul McCartney and Wings, Paul McCartney, leads our list. The self-produced effort shows a little age for the Rock & Roll Hall of Famer, yet offers a little personality if you pay attention. The same is true of the Letter to You album by Bruce Springsteen and the E Street Band, which offers a love letter of mourning of sorts. Both albums look back with a statement of experience and appreciation.

(The album Merry Christmas, Baby reflects a look we made into the Twenty Tens this year).

The album Merry Christmas, Baby by Rod Stewart came along in 2012 with largely Christmas music. Interesting collaborations offers sweetly rendered takes, uplifting sentimental tunes, and individual rhythm and blues takes on new music. The spiritual focus on Silent Night was fantastic.

(The album MTV Unplugged in New York joins Superunknown, Wildflowers and Violator for the Nineteen Nineties).

The four albums from the 1990s included the MTV Unplugged in New York album for Nirvana, circa 1994. Soundgarden‘s Superunknown album and Tom Petty‘s Wildflowers album both came along in 1994, with Petty being the most established of these artists by this point in their collective careers. The 1990 album Violator by Depeche Mode was likely most responsible for getting this band of English rockers into the Rock & Roll Hall of Fame. Whether I am beginning to show my age with this picks is beside the point.

(The U2 album The Joshua Tree is joined by the albums The Lonesome Jubilee, Tunnel of Love, Learning to Crawl, Genesis and Moving Pictures for albums we reviewed that were released in the nineteen eighties).

U2‘s The Joshua Tree 1987 album likely made this band in the United States, despite having been well known even before this album made its rounds. The Lonesome Jubilee album of 1987 by John Mellencamp offered a more mature lyrical offering for the artist also known by Johnny Cougar and John Cougar Mellencamp. Bruce Springsteen‘s 1987 solo album Tunnel of Love reflected a look back on what divorce can mean to you emotionally. The 1984 Learning to Crawl album by The Pretenders thematically places itself, incidentally, somewhere between Springsteen‘s Tunnel of Love and Letter to You albums. The band Genesis released the album Genesis in 1983, offering something of the bands progressive roots with the pop band the group was becoming. The 1981 album Moving Pictures by Rock & Roll Hall of Famers Rush gives us a sense for some of the best music this band has created.

(The self-titled album Van Halen by Van Halen is joined by The Grand Illusion, Feels So Good, Selling England by the Pound, Just as I Am, Electric Warrior and Cosmo’s Factory as reviewed albums released in the nineteen seventies).

The album Van Halen by the band Van Halen offered a sound that transcended at least two decades and four lead singers, with the original singer with the biggest edge singing on the 1978 introduction to the band. 1977’s The Grand Illusion album by Styx depicts a strikingly different sound and temperament despite playing in a similar era. 1977’s Feels So Good album by Chuck Mangione again offers a distinctly different take in a different genre of music. Each group and sound has its merits. 1973 offers a second look into the band Genesis with the progressive rock album Selling England by the Pound. The 1971 Bill Withers album Just as I Am was the breakout debut for one of the many artists on this year’s list that passed away in 2020. 2020 Rock & Roll Hall of Famer inductees T. Rex saw perhaps their biggest recognition in the United States with their 1971 album Electric Warrior. The 1970 album Cosmo’s Factory by the band Creedence Clearwater Revival is the sixth of this decade reviewed. Take a closer look at the song Run Through the Jungle to see how the song has been misinterpreted by many through the years.

(The 1957 album Here’s Little Richard is offered with Complete Recorded Works in Chronological Order, Vol. 2, 1930-1934 for complete the nineteen album reviews Matt Lynn Digital made in 2020).

The Little Richard album Here’s Little Richard debuted as a complete album in 1957. The distinctive vocals, bombastic piano playing and distinctive style made him an early pioneer of early Rock & Roll Hall from Tennessee. A predecessor to Little Richard from the same state was Blues Hall of Famer Thomas A. Dorsey, also known as blues pianist Georgia Tom Dorsey. The compiled album Complete Recorded Works In Chronological Order, Vol. 2, 1930-1934 offers a look in the music of Dorsey from the period 25 to 30 years before Here’s Little Richard was released.

(Chuck Berry and Bruce Springsteen lead a review of artists including John Lennon,  Bing Crosby, David Bowie, The Kinks, Eagles, Bob Seger & the Silver Bullet Band, Trans-Siberian Orchestra, The Reverend Horton Heat,  Bob Dylan, Jason Isbell, Adele, Billy Joel and Garth Brooks).

A Matt Lynn Digital classic rock playlist of Christmas songs offered fifteen distinct songs in December as a means to enjoying some of the music I’ve enjoyed growing up. We began looking into the notion of music as a vehicle for storytelling here. This second subject is one that we would like to return to more vigorously in 2021 as interest allows.

(The movie Ray is joined by Mr. Holland’s Opus and The Last Waltz in wrapping up our review of Matt Lynn Digital’s review of music from 2020).

The movie Ray (2004) starred Jamie Foxx in the role of the title star offered us a biographical movie that offered some notion for the soul, blues and gospel musician that was Ray Charles. For those unfamiliar with this musician, the story does a decent job of level setting who Ray Charles without telling the full story you might get from a book on the star. The 1995 movie Mr. Holland’s Opus went in a different direction of storytelling. In this case, the movie starring Richard Dreyfuss in the starring role of the fictional title character offered the story of the conflicting passions of someone aspiring to write music placed against the responsibilities and adversities of a life that offers other passions that can become intermixed with a passion for music. This subject is broached in the movie Ray. A middle ground of sorts is found in the film of the last concert for a band named The Band. Released in 1978, The Last Waltz is a concert with guest stars performing alongside the featured band, interspersed with interviews of members of the band about life on the road and the personal reasons the band had for retiring. Directed by Martin Scorsese, the adventures of that night and the career of the band were made manifest in the concert event biography that came from the experience.

Share the Matt Lynn Digital blog with your friends if you see value in what we are doing. Before the end of this year, a similar review for entries on movies and books will also be coming. We feel these reviews provide excellent content that we would like to continue offering.

Matt – Monday, December 28, 2020

A holiday playlist introduction to classic rock

Many may have a preferred playlist for holiday songs around that bring comfort over the holidays. This is an introduction classic rock through a few songs that I’ve come to appreciate over time. Enjoy!

(Chuck Berry opens our listing with his classic Run Rudolph Run).

Beginning the list is this 1958 classic from Chuck Berry to get us started. Run Rudolph Run continues to be popular to this day.

(From left, From left, Richard “Cheech” Marin and Tommy Chong of Cheech & Chong).

Santa Claus and His Old Lady by Cheech & Chong from 1971 falls more into the comedy genre, yet I get a chuckle from this for capturing an attitude. Richard “Cheech” Marin and Tommy Chong were formidable in their day.

(John Lennon, pictured here, offered Happy Xmas (War Is Over) with the Plastic Ono Band).

Happy Xmas (War Is Over) by John Lennon with the Plastic Ono Band is a song hard to miss by folks streaming or catching music from the radio. The first holiday song on our list by a member of The Beatles, 1971 was the year this song entered the culture.

(Bruce Springsteen asking for a roll call of all the good little boys and girls)?

Santa Claus Is Comin’ To Town by Bruce Springsteen and the E Street Band has taken on a bit of a life since it came on the scene in 1975.

(From left, Bing Crosby and David Bowie singing the duet for The Little Drummer Boy (Peace on Earth)).

The Little Drummer Boy (Peace on Earth) by Bing Crosby and David Bowie first played for the masses in 1977. My first remembered exposure came on MTV a few years later. The mixing of two generations of performer like this produced a beautiful song.

(The Kinks offered us a reminder to aim for equity in the song Father Christmas).

1977 also offered the world Father Christmas by The Kinks, which offers a more pragmatic spin on the notion of the holidays in reminding us with social commentary that not all are affluent with an experience of Santa Claus that is consistent.

(The Eagles as they were in 1978 sang of the bond of togetherness over the holidays).

Please Come Home for Christmas by the Eagles came along in 1978 as a solid remake of the 1961 number by blues singer and pianist Charles Brown.

(Paul McCartney and his wife Linda McCartney in 1984).

1979 offers us the song Wonderful Christmastime by former member of The Beatles Paul McCartney. Paul McCartney & Wings get the musical credit for this song, which when put alongside Happy Xmas (War is Over) by John Lennon and the Plastic Ono Band offers a bit of a difference in where the two primary songwriters were in the messaging of their music.

(From left, Bruce Springsteen and Steve Van Zandt enjoying the work of being musicians).

Merry Christmas Baby by Bruce Springsteen & the E Street Band rings in 1980 with a second song by the boss and the band. The song’s popularity grew with the release of a Special Olympics charity album in 1986.

(From left, Sting of The Police, Bono of U2 and Simon Colley of Duran Duran as part of Band Aid).

On the subject of popular holiday songs made possible by charity, Do They Know It’s Christmas by Band Aid. An effort of mainly English and Irish recording artists, the song was meant to offer aid for the famine in Ethiopia when released in 1984.

(John Mellencamp performed I saw Mommy Kissing Santa Claus).

I Saw Mommy Kissing Santa Claus by John Mellencamp was a thematically lighter song released in 1987. The pacing in more upbeat and apolitical than some in this listing, yet musically appealing nonetheless.

(Bob Seger offering a rendition of The Little Drummer Boy).

The Little Drummer Boy by Bob Seger & the Silver Bullet Band offered a second 1987 release, joining the Special Olympics album that included Mellencamp‘s I Saw Mommy Kissing Santa Claus and Springsteen‘s Merry Christmas Baby. Seger‘s song is notable for removing religious names and references.

(Bono of U2 in the video for the song Christmas (Baby, Please Come Home)).

Also in 1987, U2 offered Christmas (Baby, Please Come Home) in a romantic interlude as filled with passion as anything the band released.

(Trans-Siberian Orchestra made a light show and orchestration a large part of their live holiday performances over time).

Trans-Siberian Orchestra came along in the mid-1990s with a concept of classical music made contemporary with a rock and roll sensibility. Much of their catalogue is devoted to the music this post contemplates. Our decision here is to introduce the 1996 song Christmas Eve / Sarajevo by TSO.

(The Reverend Horton Heat would like you to know that Santa Claus is Coming to Town).

Also stylistically on point with this list yet perhaps stretching the genre of classic rock is Santa Claus is Coming to Town by The Reverend Horton Heat. I could help but hear the excitement of young children looking forward to the holidays.

Matt – Monday, December 14, 2020

John Mellencamp and the album ‘The Lonesome Jubilee’

It was late summer in 1987 when John Mellencamp gave the world a full throated American folk album with The Lonesome Jubilee. Having morphed from the Bruce Springsteen clone called Johnny Cougar with his initial release in 1976, the inclusion of accordions, fiddle, and acoustic guitars with Lonesome Jubilee offered some of his most eclectic and mature sound, which you can hear by clicking the links for the ten songs of the album that we review and present below.

(The cover for John Mellencamp‘s 1987 album The Lonesome Jubilee).

Paper in Fire opens Lonesome Jubilee as the first single as well the most distinct definition of the more robust sound of the band. The lyrics gained inspiration from Old Testament book Ecclesiastes as well as the movie Hud (1963). The song itself indicts the concept of chasing vain, frivolous love as a sure sign that people living in such a way will go to the biblical concept of Hell, which is reflected in the song’s title.

(The artwork for Paper In Fire, a single released in support of the album The Lonesome Jubilee).

Down and Out in Paradise relates for many as a blue collar letter of loss and hurt. The song was a letter of the pains of being impoverished, beyond the support of government aid, and angry with the politics focused on military agendas rather than life and the shrinking aspirations with growing hunger of a lost social class.

Check It Out was the third single from The Lonesome Jubilee. The song gives a litany of sad facts about the nature and loneliness of the pursuits and conduct of life poorly and vainly lived. The lack of legitimate understanding of happiness and life, and the things that pass for it, are the hurts Mellencamp calls out in hoping that future generations get a better glimpse of both.

The Real Life takes another bite from the apple of discontent with the jubilee called life. Suzanne and Jackson get to middle life and learn of the unhappiness that the decisions of life have given them, with a third movement bringing home the point of still needing feeling and adventure even after the decisions of life are made and settled.

Cherry Bomb takes a nostalgic look back as a young folks learning to feel love in a farm town. The second single released from The Lonesome Jubilee, this is perhaps the sweetest song on the album with the notion of learning to love, getting beat up when being an arrogant little kid, and then looking back fondly and cheering on his own kids after reminiscing on fond memories from the club Cherry Bomb.

(The vinyl for Cherry Bomb, a single released in support of the album The Lonesome Jubilee).

We Are the People begins stylistically with a lyrical bent evoking the blues. The divisions of politics and classification gets Mellencamp‘s attention as his social sights look for unity and a unifying, people first notion of the politics of the nation.

Empty Hands seeks to address the broken feelings of hopelessness underpinning having too little. The feelings of bruised loss bemoans the loss of hope while turning ultimately to the feeling of resolve that he and they must turn the corner for a better life.

Hard Times for an Honest Man takes up where Empty Hands leaves us, with no change to the hurt and an acknowledgement the futility of living through hard times. The ugliness that sneaks into the life of husband and wife is his hard time. The further truth is how hard a time must exist for the wife.

Hot Dogs and Hamburgers sings of a young man learning the sadness of American history for Native Americans at the hands of the current ethnic mix of the country. The perspective is of Mellancamp as a young man feeling the passion and used quality traveling in two directions at the hands of a Native American girl and her father. The cultural guilt in this hits the young Mellancamp, with the decision of two culturally US foods to assuage the feelings.

(John Mellencamp at his March 10th, 2008 induction into the Rock & Roll Hall of Fame).

Rooty Toot Toot brings the notion of the privilege of young love in full, in-the-moment expression home with nostalgia. The nostalgia was good, though immediately a fly in the ointment of the place The Lonesome Jubilee started with Paper in Fire.

Matt – Wednesday, May 27, 2020