I’ve written before that I never feel whiter or older than when I listen to a rap album considered one of the all-time greats.
I gave it another shot with Tupac Shakur’s 1995 Me Against the World, but again I’m coming up empty. Despite critical raves calling this one of the best rap records of all time, I find it rather corny and repetitive.
The early 90s were the heyday for Britpop, with Oasis and Blur leading the charge. I already covered Oasis’ classic What’s the Story (Morning Glory)? so now it’s time to highlight the album with which it competed for the Britpop title in 1995.
In August of ’95, Blur and Oasis went head-to-head, releasing singles on the same day. Today’s SOTD, ‘Country House,’ wound up outselling Oasis’ ‘Roll With It,’ and gave the band their first #1 hit in the UK. Oasis, of course, went on to win the larger battle, as their album became one of the best-selling records in the world.
Getting back to the albums of 1995, here’s the first one that struck me as something I wish I’d had in my life over the last 30 years.
Wrecking Ball is Emmylou Harris’ 18th studio album and the only one I’ve heard all the way through. I’m more familiar with the country legend through her guest appearances in the work of other artists (she is a particularly welcome presence on Elvis Costello’s The Delivery Man album).
The week of June 9, 1984, saw Cyndi Lauper atop the Billboard Hot 100 with ‘Time After Time,’ a song I have already featured on the blog.
Falling to #2 after owning the top spot the week before was Deniece Williams’ ‘Let’s Hear it for the Boy’ from the Footloose soundtrack. This was the fourth single from that soundtrack and the second to reach #1, following Kenny Loggins’ title track.
Throwing back to the week of June 8, 1974, we find Paul McCartney atop the Billboard Hot 100 just as he was a decade earlier. Of course, this time it’s with Wings rather than The Beatles.
‘Band on the Run’ is the title track from Wings’ third studio album, and it’s certainly one of the best songs the band ever released. It finds McCartney imagining a band breaking out of jail, an image he says was inspired by increasing police crackdowns on musicians’ marijuana possession.
Meet Me In Montauk 