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One of my favorite things about this time of year is sifting through everybody’s top 5, 10, 25, and etcetera lists. A particular favorite category is that of the years top albums. This year has produced an excessive amount of great music -so much that I’ve been having a hard time making a list of my own. But while sifting through everyone else’s lists, I’ve found several albums missing that deserve a lot more credit then what they got this year. Most of my picks are mentioned on some lists, if you dig enough, but their merit is somehow forgotten. So, without any further wait, here is my top 5 albums that aren’t getting the attention they deserve in other people’s best of 2008 lists:
#5 REM – Accelerate. When this one was released, I held my breathe. Would it be another “Up?” Or would REM return to being the musical geniuses they were in the 80s and 90s? Well, I am quite happy to say that this is the best album they’ve released since “Monster.” Here’s hoping they either stay on this track, or retire. Well, maybe that’s a little too harsh.
#4 Ladytron – Velocifero. Ok, let’s be honest about two things: a) Ladytron is one of my favorite bands (so I might be bias with their inclusion on this list), and b) Velocifero was not their best work – in fact, I might even say it was their worst album to date. But still, this album has had its moments. The song “verses” alone, with its clever phrase turns and the fact that its the first Ladytron song to date with a male vocalist! “Kletva,” is quite a catchy tune as well – one is tempted to learn Bulgarian just so they can sing along.
#3 Of Montreal – Skeletal Lamping. To be fair, I did see this mentioned in several of the KEXP staff top ten lists, but hardly anywhere else. This album is not family friendly, far from it! So if you’re easily offended, veer away from this album. However, the sensual nature of the lyrics with the trademark “all over the place” feel of the music that really make this album worth more than a few listens. And bonus points for being an actual album with a natural flow and intertwining pieces, as opposed to a playlist of ten random songs.
#2 Black Kids – Partie Traumatic. This album is just pure fun. It feels almost like a guilty pleasure, but then one hears the lyrics and realizes the depth of the music. How many people had “I’m not gonna teach your Boyfriend how to dance with you” orbiting their head for the better part of the summer? I’m actually surprised the song is not blasting from the speakers of every American Eagle store in the country (give it a year).
#1 The 1900s – Cold & Kind. I stumbled upon this band at Musicfest NW, and was severely disappointed to find out they’re not from Portland, but rather Chicago. I have not found an album this listenable in a couple years, and while I can’t pick a list of ten albums this year, I can say without a doubt this was indeed my favorite album of 2008.
Honorable Mention: The B52s – Funplex. About half of you just decided I don’t know a damned thing about music, didn’t you? I was indeed skeptical of this album, I mean the B52s haven’t done anything worthwhile since “Cosmic Thing!” Well, maybe there’s something in the Athens, GA water supply (which would also explain REM and Of Montreal), but Funplex is perhaps the best B52s album ever. From the insightful “Juliet of Spirits,” and even the erotic “Ultraviolet,” perhaps “the ultimate party band” has finally grown up.
With all due respect to the late Heath ledger, I was not all that impressed with the Joker in “The Dark Night.” Why? Well, let me say this…why so serious Joker?
Ok, let’s look at the Joker in TDK. He was real. He was very real. He could be the escape convict that lives down the street. So, why is this a bad timing? I mean, isn’t the Joker supposed to be real? The answer is simple: Yes and No. The Joker is supposed to be very real, yet surreal at the same time. While the Joker in TDK did a great job of the former, they forgot the latter. To be honest, if they could somehow mesh the Joker from Batman: The Animated Series with the Joker from TDK, then perhaps we would have a great Joker.
Oh, but this Batman franchise is supposed to be based on the late 80′s batman! The one that shot Barbara Gordon in the spine (not even knowing she’s batgirl) just to drive Commissioner Gordon Crazy! Well, yes, but there’s two major flaws there. One, what is up with the scars firstly. It was clearly stated in The Killing Joke that The Joker fell into a vat of chemicals, and that is why he looks the way he does. This joker is not discolored, he uses clown make up and he has those scars which the Joker in the late 80′s did not have. Furthermore, can you possibly see this Joker as the UN ambassador for Iran?
Maybe they’ll get it right next time. Then again, at least it wasn’t that Ronald McDonald wannabe from the live action series in the 1960s.
I’ve been thinking about how back in the day Starbucks was the best coffee one could buy. I lived on the stuff myself. Now its a bit substandard compared to a myriad of less bitter, less over roasted coffees. So what the hell happened? Well, it was a combination of two things:
1) Starbucks has expanded dramatically! According to seattlepi.com, starbucks has grown from just over a thousand stores in 1997 to over 16,000 stores in 2007. With all mass-produced products, there is always a drop in quality control, and Starbucks is no exception. Point in case, the automated coffee makers they installed circa 2000. As someone who was, at the point of the implementation of said machines, a loyal Starbucks customer, I have to say that the quality drop of there brewed espresso on my palette was significant! I realize they did this to “standardize” but there is nothing standard about coffee. Humidity, temperature, storage, and a myriad of other factors will affect the taste of each shot of espresso. Which brings me to the next reason…
2) Starbucks was never that good! Yes, there, I said it. Starbucks tasted awful, even in the early 90′s. And the reason was partly due to standardization. Asides from Espresso, French, and Italian roasts (and maybe one or two others), Starbucks insisted on roasting their coffees the same roast. But anyone who knows ANYTHING about coffee roasting, knows that one cannot roast say, Sumatra as say, Ethiopian Haraar. The Hararr requires a lighter roast in order not to contrast the chocolaty blueberry taste, where as the Sumatran coffee requires a darker roast to accent its heady flavor. But why didn’t we notice this at the time? Why didn’t we know that Starbucks didn’t make a decent cup of coffee? Well, because we didn’t know any better? Why didn’t we know Folgers tasted like crap before we started drinking Starbucks? Our palettes were simply not refined enough to know.
In the last few months, Starbucks has recognized they’re going astray. They’ve taken one or two steps in the right direction, one or two in the wrong direction. They’ve closed 600 stores and said they would start to eliminate the breakfast foods in order to focus more on coffee. Still, they have the breakfast foods, and they’ve failed to embrace that standardization is not the answer. With the addition of Pike’s Place Blend, they’ve given us yet another substandard coffee – one that’s a one size fits all solution, and a miserable one at that. Its sad that a company who consider themselves a dealer in gourmet coffees sells a coffee that is no better than McDonald’s or 7-11.
Tonight I am listening to the new Iron and Wine album, “The Shepard’s Dog” for the very first time. Its absolutely incredible (would I be writing about it if it wasn’t?). I could go on and on about it, but I’m only four tracks into it.
But I do want to talk about something; about a folly of music files, and the possible death of a standard album practice.
Track 3 “The Shepard’s dog” fades into track 4 – so its impossible to know where track 3 ends and track 4 begins. Nothing new mind you, its been done for decades. In fact, its pretty much a standard on album rock albums that at least once during said album, they’re going to do it.
So what separates this specific fade? Nothing really, except for the fact that there was a huge gap in between songs breaking the continuity of the album when iTunes changed from track 3 to track 4! Now, I know I can switch the settings to eliminate this gap, and I have already done so to eliminate future instances. But why is this set as the default? Does iTunes and Apple care so little about entire albums, since most people only download a song or two nowadays? Seriously, I know how to change it, and any one with half a brain can find the option to do so, but what about those who are scared of computers? And there are a lot of them out there – many of them happen to be extremely brilliant people in other areas.
Ok, so this is turning int a rant session, isn’t it? Still, this is one of the follies of albums as a group of files, rather than a greater body of work.
Sigh, the album really is dying. May it rest in peace. May it rise again.
There’s good news and bad news about the new Radiohead album, “In Rainbows.” The bad news is its not as good as “Ok Computer;” The good news is its not as bad as “Hail To the Thief” or Thom’s solo album. If it had been as bad as the two latter mentioned albums, I might have to refer to it as “In Rainblows.” In all seriousness, I like it -which is saying a lot considering the expectations I put on a band like Radiohead. They seem to be the type of band that is full of potential, but sometimes sinks to the lowest and/or laziest common denominator. So when they put out a new album, I approach with caution. Its nice to know that “In Rainbows,” while certainly not their best work, lives up to the bar I’ve set for them.
In other news, I just saw the video for “Challengers” by The New Pornographers. It was kind of creepy at first, but worth watching. The use of color vs black and white alone….while not the most original concept, makes it a worthwhile use of three minutes. Though the scene with Neko, Katherine, and Carl just standing there singing still freaks me out. And it looks like Neko’s drinking something radioactive too.
Iron man must die! Or at least be thrown into the depths of the Universe – fitting punishment considering that’s exactly what he did to The Hulk. Serioulsy though! I am mad at the execs, writers, editors, and everyone else at Marvel Comics. Granted, I have yet to read World War Hulk, so I’m only dealing with the aftermath of Civil War, but to praise outright facism! I’m sorry, this is just plain WRONG! I suspect there’s a method to their madness, but that method might be make Iron Man one of the major heros because the Iron man movie just happens to be coming out in what, six months? Hmmm, Sell more Iron man books to movie goers, and sell more movie tickets to Marvel readers? Maybe. Or maybe the problem is as simple as what Comic book guy (from the Simpson’s suggested: “I have the Feeling Stan Lee’s Mind is not in mint condition.”
Seriously: I’m hoping Tony Stark gets what’s coming to him, I hope the Ghost of Captain America haunts Tony’s dreams….since we all know the assassination was really S.H.I.E.L.D.’s doing. And maybe while we’re at it, Nick Furry will come out of hiding, and with the aid of Spiderman (who was hoodwinked, and later rebelled against Iron Man), throws him to the Shi’ar or something!
Its interesting how the trends in music mediums go back and forth between quality and convenience. Vinyl, for instance, was (is) a great format – especially if you have the right equipment (12+ band equalizers, decent speakers, et al). Pretty nice quality, but totally inconvenient, especially if you wanted to take your music with you. After vinyl’s hay day, we had 8 tracks, and then cassette tapes. Both formats were convenience, but left much to be desired when it came to sound quality. Then came CDs. CDs were / are wonderful quality, and even a bit convenient, though they do tend to skip and they like to develop nasty scratches.
So now we have audio files (mp3, mp4 / AAC, WMP, OGG, et al). So far these are the most convenient format. They don’t skip, the players are a lot more durable, one can bring a lot more music with them (in many cases one can carry their entire music collection in one little box). So have we reached the apex of the format wars? No! At this point in time the files are compressed still. While some formats are better than others, none of the file formats can really match the sound quality of a CD or Vinyl. And while the average consumer (pity that most people are consumers of music, and not actual listeners btw!!!) don’t really care, audiophiles and serious music fans still crave better quality coupled with the convenience of a portable media file player.
So, what is next? My prediction is in the next ten years, a file will be introduced that will have superior quality to anything we’ve seen (or rather heard) thus far. This format will be coupled with a media player that will probably have around 1 terrabyte of storage (at the very least!), so one can carry as much music as they so desire, especially since the hypothetical file type will be a pretty large. It would be nice if this player played any format by the way, so one with several protected mp3s or mp4s would not have to rip the inferior quality files, but rather leave the be.
But the real question, will corporate America allow this? Apple has a pretty big holding in the portable music world, and they don’t like to share. They have, at this time, showed no interest in migrating to a better file type. Still, they do keep pushing for bigger and bigger Ipods, and while I would much rather have a flash memory media player than a hard drive memory media player, one can defiantly say that Ipods might be a step in the right direction at least. There’s also one other thing to consider: hard drives on computers must be bigger, and faster. Most laptops come standard with a very slow 5400 RPM hard drive. Try to access a folder with hundreds of files on one of those; Its terribly slow! There’s also the fact that hard drives are still not that big. How many people have a free terrabyte on their hard drive to dedicate to music? Heck, how many people have a terrabyte on their hard drive to begin with?
Well, like I said, it will take ten years, maybe five if we’re lucky, but history says we’ll get there. And then that format will give way to another format that will most likely be lower quality, but more convenience. And those of us who are audiophiles will write a string of articles like this one once more.
Dear Bono,
Before I go on with this letter, I want to tell you how much I respect you. You have deep convictions on what you feel is right – and you don’t back down from those convictions. Once more, you use your position as someone in the limelight to further your positions on social justice. You don’t even take political sides. Republican, Democrat, Conservative, Liberal…it doesn’t seem to matter to you. You just want to get things done. Again, I respect you – immensely.
Having said all that – I’m a bit frustrated as a fan. I have been listening to U2 for seventeen years now – longer than I’ve been listening to any other band. I started when I was in the seventh grade with “The Joshua Tree” and have bought everything u2 has released since – as well as many albums before that. I have only seen you perform once – but my 97 dollar ticket was more than I’ve ever paid to see any other band. I still carry the ticket stub in my wallet – and that was four years ago. So needless to say, I am a fan.
This is where it gets a little hairy. As a fan I feel a loyalty to you – to like everything that U2 ever puts out. It’s been almost a year since “How to dismantle an atomic bomb” was released. I tried to like it – even convinced myself that I liked it for a while – but the truth is – I believe that it’s one of u2′s weakest albums. There are a few songs on HTDAAB that I love – a few riffs that are classic u2, but overall, well – let’s just say I think you can do a lot better.
A band that has been around for as long as U2 is entitled to one or two sub-standard albums, but I fear that this is becoming almost a pattern. Like U2 has lost their musical fire. It all started when Zooropa was released. Honestly, I have listened to that album less than any other U2 albums. It just didn’t do it for me. Granted, it followed up arguably the best U2 albums (Achtung Baby), but still…you could have done better.
After Zooropa, U2 released Pop. The concepts in that album were great! Using the Playboy mansion as a metaphor for heaven! Pure genius! But the album on a whole was, well, boring. That was two less than average albums in a row!
Over the next few years, something wonderful happened. U2 not only released a couple best of / B sides albums, but also one hell of a great album – All that you can’t leave behind (I am listening to that album right now). I rejoiced when ATYCLB was released. It showed that U2 had not lost it’s fire – that you were just as good as ever! So, when HTDAAB was released, I rushed out to buy it.
Seriously, while U2 had one great album in the last ten years, the majority of the albums have been pretty dull. So, I guess this is where I ask you – is it time that U2 retires? You’ve made a lot of money, so you don’t need to make any more albums in a fiscal sense. And if you stop making albums and touring, that will leave more time to your social justice causes. If you do decide to make more albums, I will still buy them. I’m a loyal fan and also an optimist. Maybe this letter (if you actually see this letter) will inspire you to do better on the next album, I don’t know. I just know that – as it stands now – I believe you’ve lost your fire.
Sorry.
My first experience with Berbatti’s Pan was maybe five years ago. I won tickets to a show (featuring the now late Eliot Smith), and couldn’t find anyone to go with me. It creaped me out that I would have to go by myself – I had never been to a 21 and over venue. I chickened out at the door, and walked away – thus blowing my chance to see probably one great show.
A year or two later, my now favorite band, Over the Rhine, was playing at Berbatti’s. I decided to throw caution to the wind, and went for it. It was everything I expected it to be, smoky and dirty and full of drunkards. But the music made up for all of that.
Over the past four years, I’ve visited Berbatti’s for several different shows. Some of them rocked, some of them did not – but the venue itself has become my favorite in the city. It’s not as dirty as it first appeared, and they recently changed to non-smoking. As for the drunkenness, well, I’m less critical about it – and most people are there to hear the music anyways.
So, the other night I went to Berbatti’s for the first time in over a year. I had heard they remodeled, and I was kind of unsure of what to expect. Rumor was that it went all ages – would I still be able to get a rum and coke? Would they take away the artwork on the walls? And what about that huge and beautiful main bar of theirs? Would they go for something more conventional and modern? Well, Berbatti’s has not changed a bit. OK, ok, they have changed a few things. I think they knocked out a wall in back, and moved the sound board back. They replaced all the booths with movie theater style chairs – and they moved the second bar where the bands used to stash their equipment. They changed the schedule – concerts start earlier, and they have a DJ spin afterwards. I don’t like this edition – it rushes the musicians off the stage too quickly. All in all, no major changes. In fact, one change they should have made was to redo that floor. It’s all ripped up – showing it’s age with less than a passing grace. And the men’s room is still filthy.
But, what can you expect? It’s a bar (only some shows are all ages). People go there to listen to music, maybe dance, and maybe have a drink. As long as the music is good, I really don’t care.
The 1960’s were a period when changes and new ideas for society were explored by the counter culture. While these ideas played out in many aspects of the culture, they especially made themselves ever the more present in the popular music of the time. Band such as Jefferson Airplane, The Grateful Dead, and The Beatles took popular music to a new place, a place of exploring political ideals and alternative lifestyles. Those who lead these lifestyles chose a different direction than that normally accepted by the society of the time; lifestyles based in searching for new spiritual plains with the use of chemicals; lifestyles adopting socialist and communist notions, while rejecting capitalism; lifestyles that were looked down upon by the status quo lifestyle of white, suburban, middle class America. Not least among the musicians of the sixties was Bob Dylan. Dylan’s music explored alternative lifestyles such as the drug user, the drifter, and even the prostitute.
In 1962, Dylan recorded a version of the traditional song, “House of the Rising Sun.” While Dylan did not write this song, Dylan’s version of the song gives an interesting perspective to this song. Consider the following: In 1964, The Animals recorded the same song with a change in gender. The Animals changed the lyrics to accommodate a male singer. By changing the gender of the song, The Animals also change the meaning of the song. The point of view changes from the original whore, to a whore monger, from the prostitute to the john. Interestingly enough, Dylan’s version of the song keeps the original gender. By keeping the traditional gender in tact, the male Dylan transcends gender; the male Dylan, in a sense, becomes a whore. Dylan puts himself in the shoes of the alternative lifestyle of a prostitute. While prostitution appears as a forced lifestyle for desperate women, the song makes it clear that prostitution is, in fact, an alternative lifestyle; the whores do have a choice in their lifestyle. The fifth verse of the Dylan version states:
Oh tell my baby sister
Not to do as I have done
But to shun that house in New Orleans
They call the Risin’ Sun
What is commonly referred to as “the oldest profession,” is often times seen as a forced occupation to poor women. However “House of the Rising Sun,” shows prostitution as a lifestyle choice. The “baby sister” can choose to “shun” the “house in New Orleans.” Dylan could never, truly put himself in the shoes of the whore in this song. Dylan had too much money, and gender transcendence is almost impossible. However, by singing “House of the Rising Sun” with the traditional lyrics in tact, Dylan in appearance at least, gives his mind a chance to explore an alternative lifestyle.
Drug usage, whether for exploration of spirituality or recreation, certainly fall into the “alternative lifestyle” category. Dylan, who was fond of calling himself “pro chemistry” explored this lifestyle at length in his music (Lee 135). The song “Subterranean Homesick Blues” explores the drug culture lifestyle, and offers some advice. The song points to three people that a user is forced (in some way or another)to associate with: a narc, a bathtub chemist, and a pusher. “Johnny” the bathtub chemist seems to be the lesser of the three evils. In fact, perhaps the chemist is not an “evil” at all. For a chemist in the basement could be quite beneficial to a drug user. The chemist in the basement most likely would provide the user with a steady source of LSD. What a great service to the user! However, the production of LSD in one’s basement could in fact lead to more visits from the narc. The narc is probably Satan incarnate to the user; both the narc and the Biblical Satan have come “to steal, kill, and destroy” (John 10:10). The Narc will take a bribe for his “bad cough.” However, the narc, if the user does not have a bribe, could send the user to jail. Once more, the narc’s bribes could cut into the money set aside for the pusher. The pusher wants “eleven dollar bills, and you only got ten.” Where did that extra dollar go? Did the User ever have the extra dollar? Did the narc take the eleventh dollar from the user? The three personas represented in the first verse of this song show the daily ins and outs of drug use: the dodging of narcs, and securing of the substance, while constantly having narcs and pushers take financial advantage of the user. This is the lifestyle of the user, but Dylan goes beyond simply exploring the lifestyle of the user in this song; Dylan offers the user some advice. Consider the following lines:
Walk on your tip toes
Don’t try “No Doz”
Better stay away from those
That carry around a fire hose
Keep a clean nose
Watch the plain clothes
You don’t need a weather man
To know which way the wind blows
In this song, Dylan tells his listeners (particularly those who lead the lifestyle of a drug user) to keep a low profile, but pay attention to one’s surroundings, and above all, follow your intuition (Lee 136). Perhaps this song serves as a sort of retribution to Dylan’s fans, for Dylan got rich off of his music. In any other time of popular music, this was not a problem. The musicians always get rich off of the fans. However, in the 60’s, the rich were highly scrutinized by the counter culture. Conceivably, this song was a way of “giving back to the people;” a way of giving his listeners some free and good advice from Dylan’s own experiences. However, one might argue that this advice was not felt from Dylan’s experience, because Dylan was rich. Dylan could in fact afford to get his drugs and pay off any narcs that may have come after him. Subterranean Homesick Blues explores the alternative lifestyle of a user, but again, the explorer of the lifestyle had too much fame and money to really experience this lifestyle.
“Like a Rolling Stone” examines the alternative lifestyle of a drifter. The song tells the story of a woman, who once led the lifestyle of an aristocrat, but then falls to financial ruin and thus must lead the life of a “rolling stone.” The real message of the song lies in the chorus:
How does it feel
How does it feel
To be without a home
Like a complete unknown
Like a rolling stone
This song explores the dark emptiness felt by many of the time, those who stepped out of the lifestyle of middle class America (Lee 137). The song shows a paradigm shift. The lifestyle choice to “Tune in, turn on, and drop out” is not as glamorous as it appears. Freedom from societal controls also means freedom from societal protection. The following lines show where such protection breaks down.
You said you’d never compromise
With the mystery tramp, but now you realize
He’s not selling any alibis
As you stare into the vacuum of his eyes
And ask him do you want to make a deal?
The “princess” as Dylan refers to her has standards. No matter what happens, the princess will not compromise her virtue for her needs. Before the princess became a drifter, she had the societal protection of money to buy what she needs, or maybe a father and mother to provide for her needs. The princess says she would not compromise, but she could not really make this decision until her stomach was as empty as her wallet. Now, that the princess has to live on the street, she needs to find a way to eat (or perhaps acquire some LSD). This need has pushed the limits the princess set for herself, for the limits were set in a different world, with different rules. The princess really did not have a choice, but to become a drifter. The princess’s “diplomat” took her for “everything she’s got.” However, not all drifters drop out because of such an occurrence. Most drifters have a choice. “Like a Rolling Stone” serves as an identifying song to the existing drifters, but also as a warning for those considering the ways of the drifter. The song shows the lifestyle against the romantic notions of the lifestyle.
Perhaps an even bleaker message than that of “Like a Rolling Stone” is the message portrayed in “Rainy Day Women 12 and 35.” This song explores persecution of the alternative “Tune in, turn on, drop out” lifestyle. However, this song shows that persecution will not end if one decides to go home, or rejoin society. This song shows that one will be stoned in the biblical sense if they have any transgressions on their souls. “They’ll stone ya when you’re trying to be so good;” “They’ll stone ya when you’re tryin’ to go home;” “They’ll stone you when you’re playing your guitar;” “They’ll stone ya when you’re tryin’ to make a buck” No matter what “ya” do, “they’ll stone ya.” They will never let “ya” forget what “ya” did. “Ya” disgraced the family, so, no matter what, no matter how much “ya” change. No matter how good “ya” try to be, they will always hold on to the fact that “ya” disgraced the family (or society) by drifting. And, don’t even start with anything that even remotely resembles the ways of a drifter. Don’t pick up that guitar. “Ya” might play some music “ya” played while drifting; “ya” might play some Grateful Dead or Bob Dylan. This attitude, while most likely exaggerated, serves the same message that “Like a Rolling Stone” serves. That is, it takes away the romantic notions of drifting. The song shows that if one drifts, and then decides to rejoin their family (or society); they have a rough road to travel, because people do not forgive. Drifting is a lifestyle choice, but once the choice is made, the choice is made. Life will never be the same.
The four Bob Dylan songs represented here show different lifestyle choices; lifestyle choices that are not accepted by society: a whore, an LSD addict, a drifter, and a drifter gone home. However, all four of these songs have a sort of ideology in them that also fails. “House of the Rising Sun,” shows that prostitution is in fact a lifestyle choice, or else the baby sister would have no choice. However, a comparison to the Princess in “Like a Rolling Stone” shows that when someone needs something badly enough (especially a young woman), they might not have a choice. They might have to help themselves any way they can. The drifters will have a nice safe place to stay if they decide against drifting, or will they? Again, the princess from “Like a Rolling Stone” has no choice; she was jilted by her “Diplomat.” Thus, the princess must become a drifter. Even though some of Dylan’s songs de-glamorize such alternative lifestyles, they do not take into account that these lifestyles are not necessarily “alternative,” but rather a choice made because there were no other choices available. The 1960’s counter culture looked for freedom from the current society, a freedom to come and go as they pleased, a freedom to live as they pleased. The songs in this represented here show characters that pay dearly for their freedom. Some characters pay with their hunger pains, some pay with their virtue, some pay with a lack of funds for the drugs they need, and some lose the respect of their families. Regardless of the method of payment, all four must pay.
Works Cited.
Animals, The. ‘House of The Rising Sun.” The Best of The Animals. Abkco, 1964.
Dylan, Bob. “House of The Rising Sun.” Bob Dylan. MCA: 1962.
—– “Subterranean Homesick Blues.” Bringing It All Back Home. Special Rider Music: 1965.
—– “Like a Rolling Stone.” Highway 61 Revisited. Special Rider Music: 1965.
—– “Rainy Day Women 12 and 35.” Blonde on Blonde. Dwarf Music:1966.
The Holy Bible. King James Version.
Lee, Martin A. and Shlain Bruce. Acid Dreams. Grove Press, New York: 1985.
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