Sami Martin

Category: GenX

  • Boy Bands: A History of the Soundand the Songs That Last

    Boy Bands: A History of the Soundand the Songs That Last

    By Sam Martin

    I have a rock and roll heart, but other sounds sneak in. Boy bands have always been my secret love: the love songs, the harmonies, the guys dancing. My boy band years ran from my teens with the introduction of New Edition and New Kids on the Block NKOTB and lasted weiil into my early thirties, perhaps beyond… While I was finding and building my out and loud gender queer identity they helped. My favourite is Backstreet Boys. I saw a little of myself in Nick Carter. We both were gifted with great hair!

    That’s my point of entry, not the whole story. Boy bands have a history that stretches through soul, R&B, Latin pop, dance music and the electronic records that took over radio. Their fans and their music deserve more than the old “manufactured pop” dismissal. What made the groups work? How has the sound changd? And what happens to the singers when the fans and the singers grow older?

    Before there was a boy band formula

    People sometimes start this story with the Beatles. I understand why: four young men, distinct personalities, screaming fans, photographs on bedroom walls. But if every group of young men with fans is a boy band, the phrase stops telling us anything about the music. The Beatles were a working instrumental band and songwriters who changed direction constantly. They belong in the story of fandom and image, but there are other, more direct musical routes to the groups I love.

    Listen to the Jackson 5. Motown put an astonishing young Michael Jackson at the front of a family group, surrounded him with his brothers’ voices, choreography and records that could reach across generations. “I Want You Back,” “ABC” and “Blame it on the Boogie” could be bright and immediate without being musically slight. The Rock & Roll Hall of Fame describes their sound as “bubblegum soul,” built from vocal-group music, R&B and Motown’s own tradition. That mixture of youthful energy, harmony, movement and grown-up musical craft would echo through later groups. The Jackson 5 also show why “boy band” can be a limiting label: they played instruments and belonged to a larger Black musical tradition, whether or not later pop histories recognize it. genui{“citation”:{“ref”:”turn7search1″}}

    Michael’s path from child lead singer to *Off the Wall*, *Thriller* and *Bad* changed the scale and sound of pop, and he became a model for later stars trying to move beyond a group. Jermaine Jackson also made solo R&B records, including “Let’s Get Serious.” The brothers’ later paths weren’t identical, but the Jackson 5 were a beginning for more than one career, not merely a prelude to Michael’s. genius.

    The Osmonds were another family act with enormous young audiences. Menudo, formed in Puerto Rico, developed a different model: the membership changed as the singers aged, keeping the group young. That made the name and the fan experience bigger than any one lineup. These groups did not sound the same, and their audiences did not all live in the same countries or speak the same language. They did show the music business how powerfully a young vocal group could connect through both songs and personality.

    Donny Osmond turned his childhood fame into a long solo and stage career; his Las Vegas residency is still scheduled in 2026. Menudo launched two strikingly different careers. Ricky Martin became an international Latin pop star, especially with “Livin’ la Vida Loca.” Robi Draco Rosa developed an adventurous solo career in rock en español and also co-wrote and co-produced that Martin hit. The shifting-lineup group sent artists into musical directions that could hardly fit inside its original formula.

    Then there is New Edition. If you want to understand the road to NKOTB, you have to stop here. Maurice Starr worked with New Edition before putting together New Kids on the Block. New Edition’s early “Candy Girl” openly recalled the Jackson 5, but the group did not stay frozen in that sound. As its members grew up, its R&B became more adult, and its members opened other routes: Bobby Brown as a solo star, Bell Biv DeVoe with “Poison,” Ralph Tresvant and Johnny Gill with their own records. New Edition is part of the musical family tree of the 1980s and 1990s, not a footnote before the white groups arrive.

    Brown’s “Don’t Be Cruel” made the connection between a teen group’s star and the harder rhythms of late-1980s R&B audible. Ricky Bell, Michael Bivins and Ronnie DeVoe formed Bell Biv DeVoe; “Poison” took that branch toward new jack swing. New Edition have also performed together as adults. They make an unusually clear example of a group becoming several musical careers while the original act retains its own identity.

    The groups everyone called boy bands borrowed heavily from Black vocal music. Some were themselves Black vocal groups. Soul and R&B shaped the voices, the phrasing, the slow songs and the dance records. New jack swing would bring programmed beats and hip-hop rhythms into R&B; late-1990s production would make pop choruses bigger and cleaner still. The links are audible when you listen past the marketing.

    NKOTB and I was Hooked!

    New Kids on the Block were the first boy band I remember as a boy band. I had already heard New Edition and Bobby Brown; NKOTB arrived as this full-blown pop phenomenon with songs, dancing, personalities and a crowd of teeny bopper girls that seemed to know exactly which of the five belonged on their bedroom wall.

    One part of the format was giving each member a recognizable image. Fans could pick a favourite, which made the group feel both enormous and oddly personal. Donnie was the one I first saw myself in, but I connected with Jonathan Knight too. As a masc-identified person in Toronto’s queer clubs, I could vicariously through the songs live the life of a young male I thought wasn’t available to me. I didn’t know Jonathan was gay then. He later talked openly about the pressure to hide it during the band’s early years. I think about that now when I remember hiding my own secuality and gender identity. How I felt like such a liar.

    The records still have their own pull. “Please Don’t Go Girl” asks for the most direct emotional response possible. “You Got It (The Right Stuff)” has that snap you can hear before anyone starts singing. “Hangin’ Tough” puts a little defiance around the group. I love “Step by Step”; it knows exactly how to lodge a chorus in your head. Their 1988 album *Hangin’ Tough* made the model enormous: love songs and dance tracks, five recognizable guys, videos and an audience that didn’t need anyone else’s permission to love them.

    “Games” is one of my favourites. I love how it meshes hip-hop with the group’s pop sound. Donnie’s rap gives it a harder edge, and that energy still hits me.

    NKOTB didn’t invent that mix. Starr’s work with New Edition is an essential piece of their story. The New Kids carried it into mainstream pop on a scale later managers and labels watched closely. But an image only travels so far without songs people want to hear again.

    The videos and merchandise gave NKOTB reach beyond radio. That visibility attracted mockery too, much of it aimed at the age and gender of their fans. Yet *Hangin’ Tough* supplied a practical template for later groups: contrasting singles, identifiable members, coordinated performance and a fan culture that could keep growing between album releases. The hooks have lasted better than some of the outfits.

    The five New Kids reunited in 2008, released more music, and kept playing to the fans who grew up with them. Their 2024 album *Still Kids* and their scheduled 2026 Las Vegas shows put them in a rare position: they can perform the young versions of themselves while standing on stage as the people they actually are now. I find that more interesting than pretending the years didn’t happen.

    The R&B voices between the waves

    Before getting to my favourite, I have to make room for Boyz II Men. People don’t always put them in the same boy band conversation, perhaps because their R&B identity and vocal ability are so central to their reputation. That is precisely why they belong in the musical history. “End of the Road,” “I’ll Make Love to You” and “On Bended Knee” showed how much a group could do with the tension between individual leads and voices coming together. Their records moved through doo-wop, new jack swing and hip-hop-era R&B; the harmonies could be tender without being small.

    They also help explain the next shift. The biggest late-1990s groups would combine the emotional pull of R&B male vocal groups with the scale of teen pop. Take That, Boyzone and Westlife took other versions of the format through Britain and Ireland. None of these acts was making music in isolation. Radio, music television, producers and fans were passing ideas between scenes and countries.

    Take That also gave Robbie Williams a start before his very different solo career, while Gary Barlow continued as a songwriter and performer and the group eventually reunited. Boyz II Men, meanwhile, continued after original bass singer Michael McCary’s departure as Nathan Morris, Shawn Stockman and Wanya Morris. These outcomes say more about the range of paths available after a boy band than a simple “who made it?” tally.

    The production credits show that exchange as clearly as the charts do. Boyz II Men worked with Babyface on “I’ll Make Love to You” and with Jimmy Jam and Terry Lewis on “On Bended Knee.” Jam and Lewis had worked with New Edition too. A producer’s sound could move between artists, while each group’s arrangement and voices changed its effect. By the time Max Martin’s melodies were powering Backstreet Boys and *NSYNC, the route between R&B ballad, dance beat and radio pop was well travelled. Boy bands did not create every one of those sounds. They carried them to audiences who might first encounter a style through a love song or a video and then follow it somewhere else.

    And around the big names came a flurry of groups that many of us remember by one song: Canadian group soulDecision’s “Faded,” LFO’s “Summer Girls,” BBMak’s “Back Here,” O-Town’s “All or Nothing.” That “I’m kind of faded, but I feel all right” hook still comes right back. soulDecision also had “Ooh, It’s Kinda Crazy.” Nick Lachey’s 98 Degrees had several hits, including “The Hardest Thing” and “I Do (Cherish You),” but their first run felt brief beside Backstreet Boys’ continuing career. Nick moved into solo music with “What’s Left of Me” and television, including hosting *Love Is Blind*. The group eventually returned, releasing *Full Circle* in 2025. They weren’t all literally one-hit wonders, but together those songs made it feel as though another group arrived every time you turned on the radio.

    Backstreet Boys: my favourite

    Backstreet Boys are the ones I return to most. Yes, the looks were part of it. So were the love songs. But if you put the photographs away and just play the records, the five voices still make the case. Brian, AJ, Nick, Howie and Kevin sound like a group. Each can give a song a different colour; together they make the chorus bigger than any one of them.

    “Quit Playing Games (With My Heart)” and “I’ll Never Break Your Heart” sit closer to the R&B-ballad side of the story. “As Long As You Love Me” picks up a quicker pop pulse. “Everybody (Backstreet’s Back)” comes at you with costumes, choreography and a wink; it wants a room full of people to join in. Their early sound brought the vocal-group tradition into the very polished pop world of the 1990s. The Recording Academy draws a line between Boyz II Men’s R&B success, NKOTB’s teen appeal and what Backstreet Boys brought together. I hear that history, but I also hear five particular voices that made it theirs.

    Then there is “I Want It That Way.” It is one of those records where people can debate the words forever and still sing every note. Written by Max Martin and Andreas Carlsson, it became the centrepiece of a pop sound that would travel far beyond this group. Martin and the Swedish production teams around him helped build melodies and choruses that hit with enormous clarity on the radio. The Backstreet Boys gave those songs human voices. The space between a perfectly constructed melody and the feeling you hear in a singer’s voice is where the record lives.

    My favourites go beyond that one hit: “Incomplete” from *Never Gone*, “Inconsolable” from *Unbreakable*, and “Chances” from *DNA*. Those later songs are part of why I don’t leave Backstreet Boys behind in 1999. I still want to hear what they did as the group grew older.

    This is where the genre’s love songs do their quietest work. A record made for millions becomes connected to one listener’s relationships. Years later, a chorus can bring back someone they dated or loved. I hear that in Backstreet Boys, which is one reason they remain my favourite. The feeling is personal; the musical skill that makes room for it is there on the record for anyone to hear.

    The group did something many acts from a huge pop wave don’t manage: they kept being a group. Members pursued their own work and lived through the changes that come with decades in public, but the five still perform together. Their *Into the Millennium* show at Sphere in Las Vegas extended through 2026, with further dates announced into early 2027. That isn’t a museum display of the 1990s. It is five men doing the work of singing those songs now, for people who have lived a lot since first hearing them.

    *NSYNC and the moment pop started moving faster

    *NSYNC arrived into a world where the boy band could already fill an arena. They had to stand out inside a crowded sound, and they did. “Tearin’ Up My Heart” has the early rush; “Bye Bye Bye” arrives with that unmistakable movement and chorus; “It’s Gonna Be Me” clips the phrasing into something almost rhythmic. By “Pop,” the group sounds fully aware that people are arguing about whether music like theirs counts. Rather than plead for approval, the song pushes harder.

    The rivalry with Backstreet Boys made for easy headlines. As a listener, I hear two different approaches. Backstreet Boys give me the love song that opens up and lets the voices sit in it. *NSYNC often sound like they want to turn a corner halfway through the track and show you another move. Both used the great late-1990s pop-writing machine, including Max Martin. Neither can be reduced to it.

    Their 2000 album *No Strings Attached* sold about 2.4 million copies in its first US week. That’s a picture of scale, but the more interesting story is the shift in the records. By *Celebrity*, “Pop” and “Gone” pointed toward a more individual sound, particularly for Justin Timberlake. On “Gone,” he takes the lead throughout; that tells you something about the direction things were moving. It doesn’t erase JC Chasez’s voice or the contributions of Lance Bass, Joey Fatone and Chris Kirkpatrick to the group that got him there.

    Lance was the other blond guy I connected with—the one who trained for a trip to space but never flew. I didn’t know he was gay at the time either. It’s strange and interesting to look back at Jonathan and Lance now: I connected with both while I was working out who I was, without knowing that part of either man’s life.

    The group went on hiatus in 2002. The members found work in music, theatre, film, television and other corners of entertainment. JC released a solo album; Justin’s solo career became a much bigger public story. They recorded “Better Place” for *Trolls Band Together* in 2023, their first new song together in over twenty years, and reunited again on “Paradise” on Justin’s 2024 album. Hearing those voices back together reminds me why the group mattered in the first place.

    Justin: why the solo career lasted

    Justin Timberlake had the most durable solo pop career to emerge from these three groups. That fact can lead to lazy conclusions. He didn’t succeed because he alone had talent, or because boy band music was something he had to escape. *NSYNC gave him a platform, a huge audience and years of experience singing and performing. He then had to make a record people would choose for a different reason.

    *Justified* did that in 2002. With collaborators including the Neptunes and Timbaland, he moved into a more adult R&B and pop sound. “Like I Love You,” “Cry Me a River” and “Rock Your Body” belonged to a new phase without asking listeners to forget his voice. That balance mattered: he was familiar enough to bring an audience with him and different enough to earn a place on radio as a solo act. It also mattered enormously who made those sounds with him. Pharrell Williams, Chad Hugo and Timbaland weren’t background names. Their ideas shaped what the records could be.

    He made another sharp turn with *FutureSex/LoveSounds* in 2006. “SexyBack” didn’t sound like a boy band member offering a safe update of his old hits. The electronic textures and rhythms pushed at what pop radio was doing. *The 20/20 Experience* in 2013 and a long run through television, film and later music kept him present between pop cycles. “Can’t Stop the Feeling!” reached listeners far removed from *NSYNC’s first audience. That is how a career lasts: enough continuity to be recognizable, enough change to have another reason to listen.

    Timing helped. Producers were crossing freely between R&B, hip-hop and pop; Justin had performance skills, collaborators, an audience and an industry willing to put him at the centre of the story. His rise wasn’t an individual act of will.

    That is what I mean when I wonder why he survived the hardest part of leaving a boy band. He found an identity outside the group that listeners accepted over more than one album. It doesn’t mean his bandmates failed. JC’s path, for example, shows that a remarkable singer can make different choices and receive a very different level of industry support. The public can be unfair in deciding whose second act gets called a success.

    Justin’s 2024 record *Everything I Thought It Was* included “Paradise” with *NSYNC. It was a reminder that the group and solo histories can occupy the same life. Whatever each of us thinks of him now, the records tell a clear story of a performer who kept finding new producers, new sounds and new audiences.

    The bands grew older. So did I.

    The format kept changing after *NSYNC. One Direction brought it into the social-media years without the synchronized dance routines; Harry Styles later made a distinct solo career. BTS and other K-pop groups took choreography, production and global fan communities in new directions. Those bands belong in the history, but I grew up too. For the most part, I left the genre there and stuck with the groups that were part of my own life. Those are the records I still go back to.

    Loving boy bands shouldn’t require an embarrassed confession. We can laugh at the hair and examine the marketing without dismissing the harmonies, the changes in production or the influence on later pop. We can also pay attention to fans, who gave these songs meanings far beyond anything printed on an album sleeve.

    I now hear more clearly the roots beneath all three groups: the Jackson 5, New Edition, Boyz II Men, the writers and producers, R&B that quick histories too often skip. I hear the years in the songs as well. Some remind me of women I’ve loved. Others just make me turn the volume up.

    That’s the thing about a playlist. It can put a song made for millions next to the one memory that belongs only to you. I’ll be sharing the tracks behind this piece on Patreon; you can also find me on YouTube at **@thesamimartin**. Play the songs you thought you’d outgrown. You may hear somebody you used to be, and maybe somebody you’re still becoming.

  • 1984, When I was 16 Years Old!

    How my Music Tastes Have Changed in 40 Years

    First let’s begin with 1984 …. THEN
    These were what I would say were songs I remember making a HUGE mark on who I was. I immediately loved guitar driven rock ballads. I was young and full of passion and music found its way to viariously describe feelings and moments I could not find the words to do so alone.

    L.A. Woman, The Doors
    Released: April 1971
    Writing Credits: Jim Morrison, Ray Manzarek, Robby Krieger, John Densmore
    Label: Elektra Records

    I’ve always had a soft spot for Jim Morrison and The Doors, especially their iconic track “L.A. Woman.” From the moment the bluesy guitar riff kicks in, it’s like being transported to the streets of Los Angeles, where the city’s pulse beats in rhythm with the music.

    Despite living in LA for almost a decade, the allure of the city has somewhat faded over time. Yet, every time I hear “L.A. Woman,” it’s like rediscovering the magic of the city all over again. It’s a reminder of why I fell in love with LA in the first place and a testament to the enduring power of music to evoke emotion and stir the soul.

    I named my family dog Mrs Mojo Rising or Mojo for short.

    Thank You, Led Zeppelin
    Released: October 1969
    Writing Credits: Jimmy Page, Robert Plant
    Label: Atlantic Records

    “Thank You,” nestled within Led Zeppelin’s second album, is a cherished gem that has etched itself into the fabric of my being. Its ballad style, adorned with the signature grit of Jimmy Page’s guitars and Robert Plant’s soul-stirring vocals, struck a chord within me during my formative years.

    What truly sets “Thank You” apart is its lyrical depth and emotional resonance. Plant’s heartfelt lyrics express gratitude and longing in equal measure, creating a sense of intimacy that transcends time and space.

    3. Live Wire, Mötley Crüe 
    Released: January 1982
    Writing Credits: Nikki Sixx, Vince Neil
    Label: Leathür Records

    “Live Wire” by Mötley Crüe is the epitome of unadulterated metal energy, pulsating with relentless speed and power. Featuring lightning-fast guitar riffs and Vince Neil’s gritty, electrifying vocals, the track delivers an adrenaline-fueled punch that leaves listeners exhilarated.

    And let’s not forget the iconic cowbell, adding an extra layer of intensity to this headbanger’s anthem.

    But beneath the surface of its raw energy, “Live Wire” also boasts a level of musicianship and craftsmanship that is often overlooked in the metal genre. From the precision of Tommy Lee’s drumming to the intricate interplay between the guitars and bass, every element of the song is meticulously crafted to create a wall of sound that is as powerful as it is infectious.

    4. Foolin’, Def Leppard
    Released: July 1983
    Writing Credits: Joe Elliott, Rick Savage, Steve Clark
    Label: Vertigo Records

    From the seminal album “Pyromania,” Def Leppard’s “Foolin’” emerges as a prime example of the band’s unique fusion of melodic sensibility and hard-hitting rock.

    This power ballad epitomizes their distinctive style, blending narrative-driven lyrics with energetic guitar riffs. As the track unfolds, it takes us on a captivating journey through the highs and lows of love and life, all underscored by the band’s signature sound.

    I always was a sucker for a good power ballad.

    Watch for my list of top power ballads coming soon

     5. You Think You’re Tough – Ratt
    Released: 1983
    Writing Credits: Stephen Pearcy, Robbin Crosby, Warren DeMartini, Juan Croucier
    Label: Atlantic Records

    Emerging amidst the vibrant melodic metal scene of the early ’80s, Ratt swiftly claimed a spot as one of my personal favorites with their release “You Think You’re Tough.”

    This track embodies the quintessential elements of the genrethat I love. Things like infectious hooks, anthemic chorus, and driving guitar riffs that instantly captivated my youthful spirit. I absolutely love how Warren DeMartini plays guitar. And in this song well… It’s a song that resonates with the rebellious energy of the era, fueling my passion for the electrifying sound of classic metal.

    As I listen, I’m transported back to those exhilarating days of my youth, where the music was loud, the energy was high, and the Ratt and Roll was blaring in my sony walkman!

    Let’s sum it all up!

    In ’84, Ratt shot up to the top of my favorites list with their infectious hooks and driving guitar riffs, capturing the essence of the emerging melodic metal scene. Def Leppard’s melodic yet hard-hitting style, especially in tracks like “Foolin’,” resonated deeply with me for their ability to blend storytelling lyrics with energetic instrumentals. The Doors’ timeless classic “L.A. Woman” remained a constant favorite, reminding me of the allure of Los Angeles despite its fading glamour over time. Led Zeppelin’s soulful resonance in “Thank You” and Mötley Crüe’s raw energy in “Live Wire” rounded out my top bands, each offering a unique sound that spoke to me on a personal level

  • Generations of Music 2 – A Boomer & A Millennial

    A Review of Music Through Generations

    Part 2 – A Boomer and A Millennial

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    Alright, what happens when you look at a “Boomer” playlist and put it next to a “Millennial’s” playlist. I reached out to friends Susan (boomer) and Jade (millennial ) to get their favourite songs from when they were 16 years and their current (to the time of survey) favourites. Hearing the musical favourites of others can not only provide great insight to who they are but what was happening in the world at the time they were 16. This pairing could not be anymore different as night and day. It is also highly reflective of both generations and the people

    LET ME KNOW WHAT YOUR FAVOURITE SONGS WERE WHEN YOU WERE 16!

    Jade Ewing – Millennial – 16 Yrs Old – 2002

    1. A Moment Like This – Kelly Clarkson
    It is hard not to love Kelly Clarkson. There is a reason she won American Idol and is the most successful artist of the franchise. Her powerful voice and dynamic range just pull you in. Despite the fact that she clearly was marketed to the teeny bop generation of the early millennium, Kelly Clarkson has gone on to build an incredible career. She has had many 10 rated albums, been a winning guest coach on The Voice as well as started her own daytime talk show.

    “There is a reason she won American Idol and is the most successful artist of the Franchise.”

    — Sam Martin

    2. WORK IT – Missy Elliot
    Ok why did I not get how dirty parts of this song could be. Jeez!!! Missy you get your groove on. Regardless, I was always up on the dance floor when this song played at the clubs when it was popular. It is raw, dirty and fun!

    3. Hot in Herre – Nelly
    The fantastic sounds of the dirty south. Funky mixes with a little bit of …. I really dig the deep base accented by the high almost cowbell like drum beat. I’m not ashamed to say I’m hot and want all our clothes off!

    4. The Middle – Jimmy Eat World
    Yes! Yes! What a great song and fantastic band. Highly underrated Band. Heavy of the rock chords with a driving rockabilly riff. Listening to this song sent me into a few other of my favs. Jimmy Eat World throws down a solid rock song repertoire and this is a great example.

    This song in the playlist also goes to show how unpredictable Jade is in her musical loves. That is something I admire in a person and their music, lots of diversity.

    5. Move Bitch – Ludacris & Mystikal

    Susan Pacek – Late Boomer – 16 Yrs Old

    The music on both of Susan’s playlists speaks to my my inner rock and roll soul in so many ways. This is where a 16 year olds then collides with this future rockers budding interest in classic rock. Some of this music shaped the music I listened to when I was 16. (That playlist is coming soon, don’t worry!)

    1. We Will Rock You – Queen

    Only Queen and Freddie Mercury could “Sing It” — And rock us they did! The intro of the guitar in this song just really helps it stand out. A classic riff with an abrupt ending. I was slow to completely appreciate Queen. Maybe I could say I was a closet Queen fan. Though they use a great deal of piano in their music . Fact, I love a rock song with solid use of the twinkle keys!

    2. 50 Ways to Loose Your Lover – Paul Simon

    I remember this song when I was young and really finding the chorus fun, rhyming the actions to the names of a man in order to escape. original or a cover? This is overall a fun song about getting out of that unwanted relationship. Paul Simon is another srtist I have a limited interest in. But then I will hear a song or realize it is Paul Simon and I am a little caught up in the free and easy jazzy upbeat sounds. The bridge instrumental in this song is really bright and fun!

    3. Running On Empty – Jackson Brown

    Jackson Brown has always been a favourite of mine from the 70s folky rock scene. This upbeat tune about getting away, leaving with nothing, and just leaving it all behind is also a solid rock tune with a piano in the rhythm of the song. The lyrics really strike a chord with me. Of course in ‘69 I was only 1 not 21 and I had no clue how much every now and then you would need to run into the sun and leave things behind.

    https://youtube.com/watch?v=sI66hcu9fIs

    4. Starman – David Bowie

    One of my all time favourite David Bowie tunes. The harmonies of his voice, the acoustic guitar and ethereal plea to that starman he would be. Oh, man. When I heard of his passing, it was this song I played on repeat. The fact that it is a song about music itself “some cat was laying down some get it on rock and roll” The song is raw and catchy.

    5. Bennie and the Jets – Elton John

    Elton John is a rock/pop god. An artist who plays piano in almost every song while his musical style changed with the changing decades. Literally from his 70s rock and roll roots to 80s pop to love songs galore. The song is great. The long solo in this video version is overdone, however it would not be Elton John if it was not a little overdone, right!?

    Jade Ewing – Millennial – 34 Yrs Old – Current

    You are going to hear me say the following or a paraphrase of this throughout the remainder of Jades playlist. Her taste in music spans quite a broad spectrum of genres and eras. I would hasten to say that Jade’s is the most eclectic playlist I received when I did the survey. It is also exactly why I chose to include Jade as the lone millennial in the survey. Below are the songs as of the taking of the survey.

    1. Last Child – Aerosmith

    One of my all time favourite Aerosmith songs!! While I do think Aerosmith is a fantastic band they were never one of my top bands. As a front man, Steven Tyler is alright, there are definitely better.
    This song does represent the best of Aerosmith. Like when Steven screams ‘Last Child!’ Good solid pick. I’m off to listen again.

    2. Body- Megan Thee Stallion

    Honestly I could not listen to this song. I dont have much to offer! It truly goes to show that we all truly have different tastes. The Missy Elliot meets L’il Kim is totally a jam, and I love Missy. On this, I just cant!

    3. Sunday Kind of Love – Etta James

    YES! Now here is a song I am so totally “vibing” with. No matter who we are in our process of loving music, there are always songs that define the different types of genres we gravitate towards. Etta tells it like it is with her soft vocals with sharp smooth follow through. I mean come on.., A Sunday Kind of Love… Does it now sound just right as she sings it to us. No troubles no worries just an easy Sunday kind of vibe!

    4. Living Dead Girl – Rob Zombie

    Rob Zombie and his band before he branched out solo, were making “zombie” style hits before the whole Zombie culture on television and movies took off. Living Dead Girl is the quintessential zombie based love song. Also a classic electronic rock song. The chorus talks of the living dead girl and how he feels. I almost hear a resonance of .Mr Skin, by Acid Test in this song. Rob Zombie is a little Rough harder sounding.
    What I really love about this song being on the playlist, it reminded me there are songs / bands that I enjoy but forget to listen to.. Thank you for that Jade!

    5. Bang – AJR

    Well this song completely took me by surprise. Surprisingly I knew it despite feeling clueless, feeling like it was another song that would just be a HUGE no for me. As I said surprisingly, NOT. It has a catch and is one of those songs that you could get the hook in your head and roll with it annoyingly or not all day.

    Susan Pacek – Late Boomer – 57 Yrs Old

    Hanging out with Susan, she will want to 70’s R&B, she will want the music up and loud and will sing it out. Which is why I find her current top 5 to be so great! I said it before Susan’s was one of the easiest playlists to listen to front to back both now and then. Let’s take a look at the songs she currently (at the time of survey) what her favourite songs are.

    1. Wild World – Cat Stevens

    Cat Stevens and his song Wild World are new to me. Well, I guess the Cat Stevens version really. I have always loved the Peter Frampton cover of this song. Then later in life the remake by Maxi Priest. Which really turned me on to the song. I think this is my favourite. Am I allowed to like a cover more than the original?
    As the lead song on Susan’s list I can see the bridge from her 16 year old self. A little mellower, but a fan of the good solid classics. There is also a great message in this song. Something I have always taken from it. The world is wild and it’s a grand place that is expansive and diverse as all our individual tastes. Also, it is “hard to get by just from a smile”. Though don’t we all want to try!!

    2. You Can’t Always Get What You Want – The Rolling Stones

    There is nothing more truer than the title of Susan’s second pic for her current top 5. As much as we all want specific things in life, Mick and the band had it right, With added hope, that if we “try sometimes, we just might find, we get what we need!”. So far this appears to be truth.
    I love that there is a Rolling Stones song on the larger list of the Generations Playlist. While I know 100% my choice is going to be the Beatles, the age old question is, the Beatles or the Rolling Stones? (as asked by the band Metric) I notice there are no Beatles songs on Susan’s playlist

    3. Baba O’Riley – The Who

    I am a not a play all the time fan of The Who! They are one of the bands easiest forgotten by myself. They are a good solid band with a large number of fans. They just never resonated with me. Roger Daltry’s voice is so uniquely his own and what he brings to the sound of the songs from the raspy belting in this song to the soft touch in Blue Eyes. Overall this lends itself to what I am going to refer to as quintessentially Susan and a playlist for the generation. A late boomer generation that along with the young fellows in my father’s pipe and drum band introduced this GenX’er to the coming generation of rock and roll in the 80’s. When I think of the who I think of the song “Behind Blue Eyes”. Oh those British bands, they do invade our musical charts often!

    4. Summer Wind – Frank Sinatra

    You don’t know how happy seeing Ol Blue Eyes on a list leaves me feeling. That man could certainly croon and I am so happy he is on the list. I have always felt drawn to the swagger of “the Rat Pack”. The way Frank, Dean and Sammie would croon. Is there anything like that in today’s music?
    Summer wind is a fantastic example of the swoon in the croon. A song filled with that jazzy blues feeling is always a favorite. The song is easy and Frank was a success because fo great songs just like this one.

    4. Summer Wind – The Grateful Dead

    What list of favorite bands would not include a song from The Grateful Dead. Honestly, I know they have a cult following and people just love them, I have never gotten the dead fever. I think it was a little before my time and a little too folky for my liking. However I apparently do know their music because I knew this song already. I will admit that this song does sound fun. The happy move along guitar picking and the snazzy little drum beats.

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  • Generations of Music

    A Review of Music Through Generations

    PREFACE: When first pondering about this idea, my thoughts were more about how a parents musical interest influences their children. I have been endlessly watching old footage my cousin had shared. Music, playing intrusments, dancing and singing were quite alive within the family. With this in mind a response to a video post on my timeline prompted a light bulb to fire. How do our own musical favourites at 16 compare to our choices now. Then I realized I could span from “boomers” to “GenZ”

    I can recall being 16 years old and really feeling music. I became head over feet all about rock and roll. Songs on cassette played on repeat connected to my ears through the headphones from the Sony Walkman in the backpack. Songs that evoked feelings or allowed me to live vicariously. Actually, one of the contributors, Renee, proclaimed that music at that age “ is about longing”. I agree. The music said the words, expressed the feelings, allowed me to find me amongst all the teenage chaos.

    Part 1 – GenZ, Progeny of GenX

    Hayden Clipsham – Genz – 16 yrs old

    Of all the top 5 playlists, this one has become my most favourite to listen to as a stand alone. What a fantastic mix of terrific new music to learn about! I completely had no idea what to expect when asking a 16 year old what her favourite music was. I am completely out of touch with current trends. Hayden was the first of the panel to submit the songs. When I sat down to watch and listen, it was just wow!

    I hope you appreciate the playlist as much as I have. Keeping it in the order Hayden sent it, I suggest you crank it up and let it play out start to finish. Even better put on some headphones and crank it up. Who says you cannot meditate to loud music?

    genZ5.jpg

    1. Masterpiece – Big Thief

    “I find the vocals so interesting and unique in this song.””

    — Hayden Clipsham

    Agreed, the vocalist does have a unique sound. There is pleading in the high tones and This band reminded me a lot like the Raconteurs or Jack White. Perhaps a little more “You don’t know what love is” from Icky Thump. Cant place it. However, the way the guitars are arranged, I am hooked. When the guitar solo comes in there is that old blues twang of a fifties riff long forgotten but a favourite. Then the backdrop, that heavy scratching charge of the 70s metal riff. I can really hear that old blues sound that is classic rock and roll. Everyone Check out Big Thief!!

    2. Campus – Vampire Weekend

    “Makes me happy and want to dance”

    — Hayden Clipsham

    Totally ashamed to admit that the only band I knew on this list was Vampyre Weekend. Not for this song though, for “Cousins”. Another great song from Hayden. What I really liked about this one was the way the drum beat “bam bam bam” (which is carried throughout the song) brings in the chirpy little baseline of this overall upbeat song. Yes! There are parts that definitely make your feet move!

    3. Kilby Girl – the Backseat Lovers

    “Who doesn’t love some British guy singing about a hot girl he met?”

    — Hayden Clipsham

    Exactly! Who does not love a song with a British guy, who has a vocal that reminds me of “Foster the People” or in some arrangements, like The Strokes. The high strings of the guitar during the chorus really lend to the urgency. The guitar is raw and edgy. What makes a great song? For me it is almost always about the guitar and the melodies, this one has both. Plus that big heavy stadium build up into the solo. I find the multiple layers of guitar tracks through the solo really give it depth. After all the loud rock sounds in comes a nice little flowing acoustical fade out. Check out this video and tune by The Backseat Lovers

    4. Motion Sickness – Phoebe Bridgers

    “Her lyrics are so deep and dark. Fun fact: her songs use an Elliott Smith chord which makes her music so emotional.”

    — Hayden Clipsham

    This song and the voice is very ethereal. You can totally hear the Elliot Smith influence. Her song writing is brilliant. As for the music. I can hear influences of Sara McLachlan, the intro and chorus arrangements reminds me a little of that Wallflowers song “One Headlight”. The deep bass start is what really gets that sound. My favourite lyric is “Why do you sing with an english accent?” At first I thought this was one of my least favourite songs from Hayden’s list, however I am wrong. The more I listen, the more I am liking it. Have you listened to Pheobe Bridgers

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  • Generations of Music 3 – GenX

    The GENX Episode – Hayden’s Mom

    In the previous instalments, we delved into the diverse musical preferences of individuals spanning multiple generations. From Hayden’s contemporary playlist, representing the Gen Z demographic, to Susan’s selections resonating with the Boomer generation, albeit a youthful member. However, in this latest episode, we shift our focus to Renee, a teenage rocker hailing from Scarborough.

    Renee, who happens to be the Gen X mother of Hayden and my best mate, provides a unique perspective that bridges the generational gap between herself and her daughter. Additionally, despite our six-year age difference, Renee and I share a bond forged through our upbringing in different corners of the Greater Toronto Area (GTA). While Renee called Scarborough, in the east home, I, proudly own the moniker “ West End Guy!”. Our friendship blossomed during the vibrant nightlife of Toronto’s club scene, where we found ourselves immersed in the pulsating rhythms of Decos and Buddies & BadTines.

    Hayden’s playlist.

    TELL ME YOUR TOP 5 FAVORITE SONGS WHEN YOU WERE 16

    Renee RK – GenX – 16 Yrs Old – 1990

    When you are 16 years old, as Renee said, “Everything is about longing.” and she goes on to say “which sums up the teenaged experience, really” and I would agree. In my days as a 16 year old I was certainly full of longing and music really helped shape my views on things. (As well as live vicariously through the lyrics) So below are Renee’s picks for her 16 year old self. Let’s see how much longing there was there through her musical choices!

    Patience – Guns N’Roses

    Oh man, there was a lot of hype when Guns N Roses came onto the metal music scene. Some hated them, some loved them, girls were crazy for Axl. Well at least in my circle of friends. I did not understand the music or the love of Axl. Likely because I had already moved onto the grunge with bands like Alice in Chains and the song Man in the Box. Still in the hard rock metal ish genre, however I was not the GNR fan others were.

    Fade to Black – Metallica

    This is a song Renee and I likely had in common but only a few years apart. I remember how this song spoke to my soul when I was in grade 10 industrial arts class. I would be working on my jewellery or my Ratt and Roll tea set when a fellow student asked what was in my headphones. I shared with her. She did not understand. How do you explain Metallica to someone who does not get it. Especially when listening to the “Ride the Lightening” cassette. (Yes! I did say cassette.) Back in the good old days when we still had portable music devices but they were Sony Walkmans that played cassette tapes and were tethered to your ears with wires that often failed.

    This song definitely described the teenage experience for me. Not only in music but also in substance. Angst, deep dark emotions I had no idea how to deal with, life moving past me ( I still feel this way) While truly I had not then or now lost the will to live… however sometimes words and music can just express what the mind in the moment is incapable of processing.

    Crimson and Clover – Joan Jett

    This song most represents the teenage longing Renee speaks of in her descriptor. I mean not just in the music, but the lyrics as well as the secret lesbian crush most young blossoming dykes held for Joan Jett. I recall one night at a club on Ventura. In a very dark men’s bar with goth like dancing, there were Joan Jett and Carmen Electra making out. Seriously true story. I actually did not believe it until we were out of the club and once it sank in I wanted to go back. There could not have been more than 10 people including staff at this club.

    I can see why Renee might have liked Joan Jett. I mean she always gravitated towards dark haired masculine women. Joan would have been her type I suspect. (Feel free to comment Renee) For me it was different, though I get it now. I was never attracted to Jon Jett, but I found her to be so cool! This was the draw. Finding out she was queer only made it that much more interesting.

    But back to the teenage longing… The video starts with her letting out a moan and a close up of her lips… as the song progresses the hunger seems to get more and more. Not an original to Joan Jett but a well received cover done with that rock flair of the late 80s.

    Great song! Cannot deny that… I mean the guitar intro at the beginning, the vocals, its a great song.
    I am just not a huge Pink Floyd listener. Blasphemy right? I do respect the music and every so often I will give it a listen. Like when building the accompanying playlist or listening to all songs repeatedly to accurately tell how I see the music.

    I do have a life story watching Pink Floyd, The Wall on the television at my friends house while eating pomegranate seeds. Highly surreal as we were also on acid. (Yeah! It was the 80’s!) There were a lot of these types of weekends back then.
    I admire people who are die hards of Pink Floyd. It’s almost like the fans of the Grateful Dead. I mean they have some good songs but really? lol No offence, just my perspective.

    Love Song – The Cure

    The Cure were always a band I enjoyed listening to. They stemmed from my love of 80’s Brit Pop! A timeless classic Love Song captures the essence of enduring love. The back drop and what draws me in, the haunting melody and lyrics that expound the story of love. There is a simplicity in the songs structure that gives it strength as a love song. There are lyrical sentiments that just resonate with the listener. I mean we are all young and passionate about love once right.

    The sure and Robert Smith have this ability to write music that spans generations.It is heartfelt, introspective and leaves a lasting impression.

    FAVOURITES FROM 2020

    “Now, I feel like I have everything and, apparently, I’m worried it’s going to run out.”

    Delving into the song selections of the era, one can’t help but notice the profound evolution that has taken place over the years. Each track serves as a poignant reminder of the passage of time and the inevitable shifts in taste and perspective.

    My long time mate’s musical preferences, once adorned in leather jackets and immersed in the vibrant energy of our Deco’s days, they now exude a sense of tranquility and ease. It’s a testament to the profound impact that 34 years can have on one’s outlook and demeanour.

    I’ll Look Around – Billy Holiday
    This track is a poignant and soulful exploration of love and loss. With Billy’s distinctive voice, I would not be turned on to her music until much later in life. However, when I did in college, I was so drawn to her delivery of haunting vocal performances. Her ability to just resonate that bittersweet feeling of longing and acceptance.

    I’ll Look Around stands as a testament to Holiday’s artistry. The ability she had to convey profound feelings and emotion in her music. What a mark she left on jazz and music history.

    Ain’t No Sunshine – Bill Withers
    Another timeless masterpiece in Renee’s list. Clearl she likes songs that carry haunting melodies and profound emotional depth. There is a longing and a heartache in the song that lyrically resonates making the song relatable.

    This is a Withers signature track. Ive always loved the power behind the lyrics and his refrain that echoes through the loss and pain of heartbreak. I think we have all been there.

    Renee is shifted into a world of songs that will always stand the test of time.

    Time – Pink Floyd

    So, full disclosure: I might not be the biggest Pink Floyd fan out there. (And yeah, Renee’s not exactly rushing to put on some Rush or Van Halen on either) Yet, if I had to pick a Pink Floyd favorite, “Time” would be it.

    There’s this indescribable feeling about it—the serious and riveting exploration of time that is introspecitve. From the opening clocks through the lyrics the track captures lifes relentless march forward.

    “The sun is the same in a relative way, but you’re older” – it hits home, doesn’t it? It’s like seeing Renee fret about time slipping by, and you can’t help but feel a twinge of empathy. Because in the end, it’s all about the journey, the ups and downs, the fleeting moments that make life so precious.

    And from out of left field comes this one! Not exactly haunting and introspective, but her son gets a kick out of dancing to it so… Gotta keep his feet moving! (I may also need to admit I got up and started doing various 56 year old versions of the robot dance)

    Intergalactic – The Beastie Boys

    The boy ceetainly likes a high energy sonic adventure that blasts us into a futueristic realm of hip hop dance and innovation.

    While it is not a deep song by any stretch what I love about the tune is this. The song’s pulsating rhythm and catchy hooks… its impossible to resist moving to. Plus the rapid fire clever word play! A true showcase of the Beastie Boys’ signature style.

    Bad News – Owen

    And we are back to the hauntingly beautiful journey through the depths of introspection and melancholy music my mate has adopted. This tracks delicate accoustic guitar melodies paired with plaintive vocals draws in the listeners emotional side.. The lyrics paiting a vivid sense of longing that lingered long after the music ended.

    Not sure it is my jam but if you ever wanted to listen to more Beastie Boys or 80s Metal I am all in!

    The final instalment, my top 5 from then 40 yrs ago (1984) and now!

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