The Toughest Street In Town - Thin Lizzy

The Toughest Street In Town - Thin Lizzy

4:00

Black Rose: A Rock Legend, 1979

Written by Scott Gorham, Phil Lynott, and Gary Moore

One of the most punk-adjacent cuts in Thin Lizzy's catalog, this song bursts open with slashing guitars that could've come straight from the Sex Pistols (Phil Lynott's mates, and kindred spirits in attitude if not in polish).  The guitars are hard edged, Brian Downey's drumming snaps like a snare in an alley, while Lynott spits his lines with the rhythmic swagger of a boxer turned street poet. "Like a rat in a pack it attacks / From the back / Through a crack in a track / And you take a smack."  The song paints a grimy cityscape, a Lou Reed vignette refitted with power chords and defiant Irish soul. The chorus crashes in over a dependable "Louie Louie" chord, a gang chant that feels both desperate and triumphant. Then Moore detonates a furious solo, full of sharp bends and molten tone, showing he was such a natural (albeit brief) fit for Lizzy's mix of toughness and melody. 

Richest Guy In the Graveyard - Dinah Washington

Richest Guy In the Graveyard - Dinah Washington

2:52

single, 1949

Written by Frank Thurman Hedges and Louis Palmer

This charming jazz vocal number is all about carpe diem: spend your cash, die broke and happy, you can't take it with you.  Backed by the lush strings of the Teddy Stewart Orchestra, Washington swings as she delivers the funny lyrics with crisp phrasing and winking amusement.  "Now what's the good of earning / With no time for spending / You know you're simply headed / For a horizontal ending."  It's packed with playful fatalism, but Washington's delivery makes it sparkle as she delivers lines like the one about how her man won't make a great lover "Wrapped in brown / with a hardwood cover."  The big punchline, though, is at the end, when with a great crescendo of strings, Washington belts out, "So daddy won't you hear my plea / Do me a favor and please / Make out your will to me."  If he won't take her advice, Dinah plans to take his money!

The Brightest Lights - King Charles

The Brightest Lights - King Charles

3:36

LoveBlood, 2012

Written by King Charles

I've never heard of this eccentric British singer and multi-instrumentalist, but this info from Wikipedia is delightful: in 2009, he became the first British person to win the International Songwriting Competition in Nashville, Tennessee.  The judges included Tom Waits and Jerry Lee Lewis!  Now that's an accomplishment to put on your resumé.  He also released an impassioned version of "We Didn't Start the Fire" with all-new updated lyrics in 2022.  In this rousing acoustic sing-along, he's backed by Mumford & Sons, playing a folk gallop that feels like an old sea shanty or an old Irish ballad.  The lyrics are all imagery of light and shadow, twilight blotting the sun, dawn sweeping darkness away, all relating in Charles' oddball mind to hedonism and carpe diem: "Oh the moonlight shadows are fleeting and scattered / Where memories and prophecies are slain / Only the moment you're in can delight in sin / So forget your regrets and pains." It's folk-rock with a slightly deranged grin, like a Victorian poet let loose in a pub full of stompers.

The Slowest Drink at the Saddest Bar on the Snowiest Day in the Greatest City - The Lawrence Arms

The Slowest Drink at the Saddest Bar on the Snowiest Day in the Greatest City - The Lawrence Arms

3:13

Buttsweat and Tears, 2009

Written by Brendan Kelly, Chris McCaughan, and Neil Hennessy

A emo-punk song about feeling lost and alone, urban isolation, the ache of self-awareness.  The narrator wakes feeling nothing ("My eyes opened to the emptiness / My face was nothing but crooked lines / I guess somewhere I really fell behind") and trudges through the cold (Chicago?) snow to a nameless bar where no one knows him, the anti-"Cheers."  It's a universal feeling of ennui: the shower you take out of boredom, the drink you pour just to fill time.  Everything looks bleak at those moments, the soul and the weather. The narrator's grim present seems to stretch into the future.  "What will it say on my snow-covered grave? / He had it all, he let it all just slip away."

The Sharpest Thorn - Elvis Costello & Allen Toussaint

The Sharpest Thorn - Elvis Costello & Allen Toussaint

4:16

The River In Reverse, 2006

Written by Elvis Costello and Allen Toussaint

A slowburn piano ballad.  Playing on "Auld Lang Syne" ("We raise our glasses and we cheer / Should old acquaintance disappear") and invoking religious imagery ("Archangel Michael will lead the way / Archangel Gabriel is ready to play / Although we know we must repent / We hit the scene and look for sins that haven't even been invented"), Costello sings a dullard's plea earnestly over Toussaint's piano.  As the song builds to a close, drums, organ and sax strike up a New Orleans ragtime tune, bringing a bit of needed liveliness into it.

The Biggest Thing That Man Has Ever Done - Woody Guthrie

The Biggest Thing That Man Has Ever Done - Woody Guthrie

2:21

single, 1942

Written by Woody Guthrie

This anthem starts off as a tall-tale braggadocio and then gets serious.  He starts off in Year One building the Rock of Ages, picking apples in the Garden of Eden, building the pyramids and freeing the Israelites ("I opened up the ocean let the migrant children through").  Then he mentions a few historical battles, until getting to the real heart of the song: beating Adolf Hitler and the Nazis.  "We'll stop the Axis rattlesnakes and thieves of old Nippon / And that will be the biggest thing that man has ever done."  I'm sure there are other versions with different verses, and there's no way of knowing which this one is.

Let Me Play With Your Poodle - Tampa Red

Let Me Play With Your Poodle - Tampa Red

2:36

single, 1942

Written by Tampa Red (as Hudson Whittaker)

A hokum swing blues with a rollicking piano and what sounds like a kazoo.  It's surely an extended entendre for a lady part, but as with all of these early euphemistic lyrics, it can be hard to pin down.  I mean, "long black shaggy hair," I guess, sure.  Also, "And what I like about him, you keeps him clean."  But: "I like the way he twists his tail / I would buy him, but he ain't for sale."  Him?  Tail?  Anyhoo, a fun little ditty, one you might hear in a barrelhouse or bordello.

Play It Cool, Stay In School - Brenda Holloway

Play It Cool, Stay In School - Brenda Holloway 

2:29

single, 1966

Written by Jimmy Clark

A terrific Motown song with a strong R&B rhythm section and compelling lead vocals.  But was this song commissioned by Big School or something?  The lyrics are direct and literal; it's not a metaphor for anything or an anecdote.  "Cause when you learn more / You're bound to earn more / When you stay in school."  It reads like the text of a PSA.  "You'll be so thankful, so very thankful / That you decided to stay and graduate."  Thanks, mom!

Play It Cool - Alton Ellis

Play It Cool - Alton Ellis

2:39

single, 1977

Written by Alton Ellis

Another mid-tempo Rocksteady groove by Ellis.  I found one source for the year, but not much else; the original Jamaican single has almost no information.  This song is also known as "Rock On Time."  It's a laid back song about, I guess, taking it easy?  The lyrics are not exactly clear in the way rasta songs sometimes get.  "Without money I know / It really makes no difference / I've got love I know / Easy squeeze it makes no riot."  Well, that's hard to disagree with!

Don't Play That Song - Aretha Franklin

Don't Play That Song - Aretha Franklin

3:02

Spirit In the Dark, 1970

Written by Ahmet Ertegün and Betty Nelson

Obviously the narrator of this song is not as steely as Humphrey Bogart.  ("Play it, Sam!  If you can play it for her, you can play it for me. If she can take it, so can I.")  The song was co-written by Ben King's wife and released by him in 1962.  This version transforms it into a gospel-soaked soul anthem with fire and heartbreak. Her voice — soaring, pleading, utterly commanding — turns the song's simple premise into high drama: the pain of hearing a song that reminds her of a lover's lies: "I was only seventeen / I'd never dream he'd be so mean."  The arrangement blends classic Atlantic soul with churchy piano and call-and-response backing vocals that elevate the emotional stakes. 

Play It Cool - Super Furry Animals

Play It Cool - Super Furry Animals

3:17

Radiator, 1997

Written by  Gruff Rhys, Huw Bunford, Guto Pryce, Cian Ciaran, and Dafydd Ieuan

How much more Welsh can the band members' names be?  None.  None more Welsh.  "Play It Cool" is a tightly packed burst of pop-rock charm built from irresistible riffs and hooks. From the opening three-chord punch with reverb-drenched vocals to an ascending keyboard line and cascading guitar bends, it assembles a warm, ear-pleasing intro in under twenty seconds. Gruff Rhys's vocals mirror the instrumentation, gliding easily into the track's melodic framework.  The lyrics have are vague, evoking both futuristic dystopia and easygoing carpe diem philosophy. The message in the chorus is act now, deal with the consequences another time: "Whatever you want to do, do it now and pay later / Whatever you want to say, say it now and pay later."  But the verses, conversely, have a dark tone that seem to imply that this isn't such a great idea.

That Ain't Nothing But Right - Mac Curtis

That Ain't Nothing But Right - Mac Curtis

2:14

single, 1956

Written by Jim Shell and Joe Price

The narrator likes holding his woman tight, and if that's wrong, he doesn't want to be right.  He also likes his beer cold, his TV loud, and his homosexuals flaming.  Just kidding; there's nothing in the lyrics that explicitly says this, though it's possibly implied.  "Well, I like my coffee black and strong / I like my auto big and long."  I read that when this Texas rockabilly king was a young lad, a school show he put on "shut down due to sexually suggestive on-stage movements."  Cool!

I Ain't Got Nothin' But the Blues - Duke Ellington & Teresa Brewer

I Ain't Got Nothin' But the Blues - Duke Ellington & Teresa Brewer

3:19

It Don't Mean a Thing If It Ain't Got That Swing, 1973

Written by Duke Ellington and Don George, 1937

This is a smooth, swinging mix of sass and sophistication. Brewer brings a playful, almost flirty vocal — light but expressive, with a bright clarity that never overpowers the groove. Ellington’s band, as ever, is a model of polished looseness: sassy, burlesque horn punches, walking bass, and velvet-slick piano comping.  Rather than wallowing in melancholy, their version lounges in it with a sly grin: "When trumpets flare up / I keep my hair up / I just can't make it come down." It’s blues filtered through champagne — elegant, urbane, and slyly tongue-in-cheek. A meeting of jazz royalty and pop charm that goes down easy but leaves a lasting impression of the talent behind the magic.

Your Cash Ain't Nothin' But Trash - The Clovers

Your Cash Ain't Nothin' But Trash - The Clovers

2:57

single, 1954

Written by Charles Calhoun

High-spirited R&B with a sax break.  Not quite doo-wop, but with a lot of "ooh-ooh" background vocals.  The narrator of this song is the ultimate sad sack for whom life reserves all of its heaviest blows.  He flashes a wad of dough at a fine chick, but she's not impressed.  He tries to buy a Cadillac, but can't haggle with the dealer.  He gets robbed and goes to jail fo public intoxication.  At the end all he has is "a buffalo" (as in the nickel).  He can't catch a break!  But does he conclude from this that money is the root of all evil?  No.  "Your cash ain't nothin' but trash / But I'm sure gonna get me some more."

Ain't Nothin' But a House Party - The Showstoppers

Ain't Nothin' But a House Party - The Showstoppers

2:38

single, 1967

Written by Del Sharh and Joseph Thomas

This song is sometimes listed as "...Houseparty," one word, and the band itself is sometimes credited as the Show Stoppers, two words.  The vinyl single's label lists the titular party as two words.  Anyhoo, this is a pretty good slice of late '60s soul.  It's got a little funk, and you can see where disco is starting to raise its shiny head.  Did the Castaways copy the rising riff on their 1968 hit "Liar Liar?"  They sound similar to me.

Grits Ain't Groceries (All Around the World) - Little Milton

Grits Ain't Groceries - Little Milton

2:39

Grits Ain't Groceries, 1969

Written by Titus Turner, 1955

Little Willie John released this song in 1955 as "All Around the World."  In it, the narrator professes his love for a girl and gets all Sonnet 116 on us, saying, "Well, if I don't love you baby, I tell ya / Grits ain't grocery / Eggs ain't poultry / And Mona Lisa was a man."  Over shimmering guitar, and muscular drum beat, and blaring horns, Little Milton booms his message out.  It's a masterclass of emotive soul and funk.  The verses are brash, heroic declarations of love and redemption.  Milton's willing to dig a ditch with a toothpick and search the world with blistered feet to win back his woman. In just under three minutes, we get a full arc: boastful devotion, desperate longing, and a confession of past sins from a man who's lost it all, but won't lose her again.

Mama Talk To Your Daughter - J.B. Lenoir

Mama Talk To Your Daughter - J.B. Lenoir

2:22

single, 1955

Written by J.B. Lenoir

The single title was issued spelled as "Mamma," and Lenoir's name was spelled as "Lenore," but I think the spellings here are more standard.  I never heard of this Chicago blues musician; his high-pitched voice made me think it was a woman singing, but that's just his style.  In this song, the narrator tells the titular mama that he loves her daughter, whether that girl likes it or not: "Mama, mama please talk to your daughter 'bout me / She had made me love her and I ain′t gonna leave her be."  Then he gets rough: "Yeah, she don't want me around, she sleep six feet in the ground."  Well that's not nice!  If that weren't enough to put me off, the title is repeated about 12 times in lieu of lyrics.

Mama Get Your Hammer - Bobby Peterson Quintet

Mama Get Your Hammer - Bobby Peterson Quintet

2:00

single, 1961

Written by Bobby Peterson, Joe Pyatt, Emmett Simmons

Know mostly as a novelty polka by Homer & Jethro, this original version is a rollicking piano boogie with buzzing horns and an urgent, shouting, growling vocal.  The titular mama is urged to get the hammer to squash an invading fly.  Peterson is concerned: "there's a fly on the baby's head" (Homer and Jethro changed it to "Daddy's head").  It's a throwaway lyric, but a the music is fun R&B rock.

Mama Don't Like My Man - Sharon Jones & the Dap-Kings

Mama Don't Like My Man - Sharon Jones & the Dap-Kings

2:30

I Learned the Hard Way, 2010

Written by Bosco Mann

Mama disapproves, but the love is real.  A stripped-down, mid-tempo soul ballad deliberately evocative of the '60s beat.  Built on little more than brushed drums, a few warm guitar chords, and a bluesy upright bass, the song gives Sharon Jones the perfect space to pour out her aching, gospel-drenched vocals. Her delivery is raw but tender, not brassy or defiant; there's a quiet resistance mixed with sorrow.  

Mama Didn't Lie - Jan Bradley

Mama Didn't Lie - Jan Bradley

2:04

single, 1963

Written by Curtis Mayfield

The narrator of this song know what boys are like.  They're all trying to get a girl, just for kicks, not for love.  "The greatest pastime / In this man's world / Is playing tricks / On every young girl."  But not this one!  Her mama warned her about wolves in boys' clothing.  The vibe is '60s girl-group R&B pop, but the message is modern and relevant.  I like that syncopated rhythm section, and Bradley's terrific vocal strikes a balance between sweetness and quiet defiance.

Mama Don't Allow It - The Boswell Sisters

Mama Don't Allow It - The Boswell Sisters

2:47

single, 1936

Written by Cow Cow Davenport, more or less

I know this swing song from the incredible Julia Lee version, which unfortunately isn't available on Spotify.  This version, like Lee's, calls out specific instruments, followed by showcase solos by the players of the named instruments.  The Boswell singers are not as bold and brassy as Lee, and this is a decent ragtime rendition but nothing special.  (It's quite possible this is a Connie Boswell solo release, but info on the web is contradictory.)

Something's Going On In My Room - Daddy Cleanhead and the Chuck Higgins Band

Something's Going On In My Room - Daddy Cleanhead and the Chuck Higgins Band

2:13

single, 1954

Written by Alvin Johnson and Scott Johnson

Jump blues with  tinge of rockabilly, a rock solid rhythm, catchy piano and bass riff, humorous and light-hearted lyrics and a bouncing, buzzing horn.  The narrator hears some suspicious voices in his room, accompanied by equally suspicious thumps and bumps.  Naturally, he's fit to bust down the door.  "Well when I get in / You better have somethin' for me," he says.  (Does this indicate a lack of jealousy and a willing to take part in a throuple situation?)  In the end, his lady is just dancing around with a broom.  Whew!

Somethin' Else - Eddie Cochran

Somethin' Else - Eddie Cochran

2:10

single, 1959

Written by Sharon Sheeley and Bob Cochran

Hey, lookee here!  What's all this?  In this rattling rockabilly number, the narrator wishes he could date a girl he's long pined after, but she's out of his class.  But!  But if he got a flash car, she'd go for him: "I'll buy that car that I been wanting so / Get me that girl and we'll go ridin' around."  We are living in a material world, and I guess she's a material girl.  He works hard, gets the car, works up the courage to knock.  It's a simple song with no twists, but I like the primitive guitar and crashing, metallic percussion.  

Something's Coming - Vic Damone

Something's Coming - Vic Damone

2:28

On the Street Where You Live, 1964

Written by Leonard Bernstein and Stephen Sondheim

This song is from West Side Story.  I haven't heard the original, so I can't compare it.  I like Damone's suave baritone, which makes the song sound confident and brisk rather than uneasily hopeful, as the lyrics might suggest.  I like the sprightly tempo and how it quickens and slows between verses.  It's got a classy, warm vibe, a showcase big band song.  

Something [live] - Elvis Presley

Something [live] - Elvis Presley

3:40

Walk a Mile in My Shoes: The Essential '70s Masters, 1995 (recorded 1970)

Written by George Harrison

From a concert in August 1970 (not the 1973 version from Aloha From Hawaii), this cover showcases the King's blend of reverence and theatricality. The ballad begins with his signature croon, starting tender and sincere, but gradually leaning into his Vegas-era drama—adding swelling strings, lush backing vocals, and a grandiose arrangement. His vocal delivery moves from soulful and intimate to full-throated passion, almost gospel-like by the climax. While it loses some of the Beatles' quiet subtlety, Elvis makes it unmistakably his own, turning the song into a sweeping declaration of love and longing.

Something On Your Mind - Karen Dalton

Something On Your Mind - Karen Dalton

3:23

In My Own Time, 1971

Written by Dino Valenti

A haunting, soul-baring piece of folk-blues, delivered with a unique voice, a nasal, world-weary, cracked alto that aches with lived experience. The sparse arrangement, gently picked guitar, quiet trills of strings, subtle bass, and minimal percussion let Dalton's vocals take center stage.  Her phrasing is delicate yet devastating, each word weighed down with sorrow and resilience. The song itself wrestles with truth, self-deception, and the ache of disillusionment, making it a timeless gut-punch of raw vulnerability and understated power.  I had never heard of this artist, but I immediately was taken by her voice.  This song is from her second and final album, but she didn't die until 1993; although she began sharing a stage with Dylan and has been championed by many music greats, apparently she hated recording and drank a lot.  Hashtag sad.

Anyone Else But You - The Moldy Peaches

Anyone Else But You - The Moldy Peaches

3:00

The Moldy Peaches, 2000

Written by Kimya Dawson & Adam Green 

A lo-fi indie (defined loosely; it's got 98 million listens on Spotify and was featured heavily in Juno) cutesy love song, with half-sung, spoken traded verses over sparse instrumentation.  Is it twee?  Oh, it defines twee.  "Here is the church and here is the steeple / We sure are cute for two ugly people."  Or, to Kimya: "Don Quixote was a steel driving man / My name is Adam, I'm your biggest fan."  Juvenile?  Yes (especially the final, somewhat less cute, verse).  But it's sweet in an oddball sort of way.

I'm the One Who Loves You - The Impressions

I'm the One Who Loves You - The Impressions

2:29

The Impressions, 1963

Written by Curtis Mayfield

The friend-zoned guy's "give me a chance" anthem.  The narrator bemoans the face that the lady is coming back to tell her friend of another heartache and yet never seems to realize that, yes, he's the one who loves her.  Tired of white knighting, he's now going to step up: "This time I won't let you go back / Never again, my dear, in fact."  Kinda controlling, no?  Fellas, the way to let a lady know you're worthy of love is to be worthy of love.  No need to force it!  Beautiful vocals by the group, though.

If Sugar Was As Sweet As You - Joe Tex

If Sugar Was As Sweet As You - Joe Tex

2:58

The Love You Save, 1966

Written by Joe Tex

A funky, joyful paean to the woman who turned the narrator's life around with her love ("Because you came along and showed me I was wrong / Now that I think that I can carry on").  It's a common sentiment in song, but Joe Tex sells it with a preacher's fire and rascal's grin, backed by a rousing horn section.  The real hook, though, is the delightful chorus, which compares her to sugar, to sugar's detriment: "You know that you so sweet / You make sugar taste just like salt."  It's a catchy Southern soul version of Shakespeare's Sonnet 18, where his love is nicer than a summer's day.

Mail Myself To You - John McCutcheon

Mail Myself To You - John McCutcheon
3:34
Mail Myself To You, 1988
Written by Woody Guthrie, 1943-1950

This song, one of Guthrie's lighter love songs, has been recorded by several artists.  Here, multi-instrumentalist McCutcheon plays it fairly seriously, softly singing the whimsical lyrics ("Take me out of my wrapping paper / Wash the stamps off my head / Pour me full of some ice cream soda / Put me in my nice warm bed") with care, not from a like he really hopes it'll happen, not patronizing the absurdity.  Near the end there's a nice round of vocals with a female singer, which adds a little sparkle.

Rhode Island Is Famous For You - Blossom Dearie

Rhode Island Is Famous For You - Blossom Dearie

2:11

Soubrette: Blossom Dearie Sings Broadway Hit Songs, 1960

Written by Arthur Schwartz and Howard Dietz, 1948

Okay, first: what is a Blossom Dearie?!  I thought it might be a band, but no, it's a singer, born Margrethe Blossom Dearie, with a high and girlish voice.  Here, she sings a light novelty number about the smallest state, originally from a musical called "Inside U.S.A."  It's a silly and fairly funny song, with tongue in cheek, deliberately dumb wordplay.  "Grand canyons come from Colorada / Gold comes from Nevada / Divorces also do."  By the time she gets to "Pencils come from Pencil-vania" and "Vests from Vest Virginia," however, you might start wishing Dietz had spent a little more time polishing up the lyrics.