Music Madness: San Francisco Region: Round 2

Ass Whoopin Central. The Four matchups have an aggregate winning score of 25-2. But today's blowouts are tomorrow's nail biters if we have this many of the big dogs squaring off. And major competition is lying in the weeds.

Like Torquemada said, all Rules and Criteria can be found here!

SHUTOUTS
(1) Grateful Dead v (9) Green Day. Who's the real "GD?" I love Green Day. Mike Francesa loves Green Day. The most competitive category here was the "All-American" album battle -  Beauty v Idiot. And as good as Idiot is, it can't beat this lineup.
FINAL SCORE: GRATEFUL DEAD 9 - GREEN DAY 0


(3) Simon & Garfunkel v (6) Allman Brothers Band. Allmans are competitive in song ("Melissa") and album (Eat a Peach). But Tom and Jerry are better ("Sound of Silence", Bridge Over Troubled Water)
FINAL SCORE: S&G 9 - ALLMAN BROTHERS 0


(2) Bruce Springsteen v (7) Eminem. No disrespect at all to the real Slim Shady, but there ain't a single item here up for debate.
FINAL SCORE: SPRINGSTEEN 9 - EMINEM 0


BLOWOUTS
(4) Bob Marley v (2) Motley Crue. Sue me, I think Dr Feelgood is better than Uprising. But that's all Vince and Company claim.
FINAL SCORE: BOB MARLEY 7 - MOTLEY CRUE 2


That closes the book on Round 2. Now it gets super-interesting with the Sweet Sixten:
The Village Region
(1) Bob Dylan v (5) Red Hot Chili Peppers
(2) Guns N Roses v (3) Bon Jovi
Liverpool Region
(1) The Beatles v (12) Sublime
(2) Led Zepplin v (3) Pearl Jam
Charlottesville Region
(1) Dave Matthews Band v (5) Billy Joel
(2) The Doors v (3) Pink Floyd
San Francisco Region
(1) Grateful Dead v (4) Bob Marley
(2) Bruce Springsteen v (3) Simon & Garfunkel


Some random (and for the most part obvious) notes:

• San Francisco is the only region to keep to form in terms of seeding.
• DMB is the only 1 seed who has lost a category (twice)
• 6 entrants are yet to lose a category: Dylan, Beatles, Zepplin, Pink Floyd, The Dead, Springsteen
• The highest combined scores in a Sweet 16 matchup go to Zepplin/Pearl Jam, and Simon & Garfunkel/Springsteen (35 points)
• The lowest is DMB/Billy Joel (27)

As a bit of a teaser, I have ranked the remaining Defining Albums. This is only 2 points per matchup, so this absolutely does not reflect who will beat who overall...

• 1 Ten
• 2 Appetite for Destruction
• 3 Blood on the Tracks
• 4 American Beauty
• 5 Crash
• 6 Sgt Pepper
• 7 Dark Side of the Moon
• 8 Slippery When Wet
• 9 Houses of the Holy
• 10 The Doors
• 11 Bridge Over Troubled Water
• 12 Born in the USA
• 13 Blood Sugar Sex Magik
• 14 The Stranger
• 15 Uprising
• 16 40 Oz to Freedom

My 30 Best Albums of the Decade: #4

If my dear friend and former bunkmate found it absurd that Eminem was ranked higher than Bruce, I fully expect a gasket to be blown this time...

#4. American Idiot - Green Day

Poignant. Telling. Reflective. Captivating. American.

I could probably describe American Idiot with paragraphs full of one word sentences (no, really I can’t, the above took me five minutes) because the album itself conjures up many different emotions. But what gets me the most about the album in its entirety is the picture it paints of early decade America. Post 9/11. Pre-Katrina.

I first heard the title track like many other people (or, I should say “men”) – as it was included on the soundtrack for the Madden 04 Playstation game. Really, this was a stroke of genius for bands to promote their work – the song would play as you were shuffling through the game options: franchise set-up, trading, stats, schedules, everything but the actual game itself. And because Madden was more addictive than crystal meth, you’d put in your good 5 hours a day and hence, become one with the songs without even realizing it.

After about 2 weeks of playing Madden, I was like “Hey, this is Green Day. Didn’t I used to listen to them back in 1994?” Which led to “Wait a minute? Is this song actually speaking out against the masses?”

And that it was. The long story is that Idiot in its entirety is a critique of all aspects of suburban society, from the plastic entertainment options available to the easy way out solutions of prescription drugs. And fine, I’ll take that for what it’s worth at face value. The album as a whole follows the protagonist, “Jesus of Suburbia” on a long journey of unfortunate discoveries about reality. But surprise, surprise, what really hooked me with the entire disc is how Suburban America got called out on the carpet.

I mentioned earlier how many Americans selectively forget what the nation was like in 02-03: many of those chanting “Yes We Can” last year were also referring to French Fries as “Freedom Fries”. And for crying out loud. Was there ever a more petty, nonsensical, bigger display of immaturity in history? Renaming side dishes? Really? Well open a newspaper pal: France 1 – You 0.

What killed me here was being backed into having to defend France though. France versus the Cavemen was the most difficult match to watch since the Lakers and Bulls squared off in the 1991 NBA Finals.

The high water mark of the album is probably the spoken verse in “Holiday”:

Sieg Heil to the President Gasman, Bombs away is your punishment

Pulverize the Eiffel Towers, Who criticize your government

Bang bang goes the broken glass and Kill all the f*gs that don't agree

Trials by fire setting fire, Is not a way that's meant for me

In four short sentences, they manage to summarize everything that was wrong at the time, and in some cases still is:

· The propaganda tactics that would have made Joseph Goebbels blush

· The childish demonizing of France

· The rampant homophobia that’s been a stain on our search for a More Perfect Union

· The absolute intolerance for anyone who thought “Um hey…this might not be the best idea”

The most precious American value is our natural right of Free Speech, and in a time dominated by the steamrolling of Dixie Chicks albums and the unfortunate pouring of French wine and vodka down the sewer (alcohol abuse!) it was comforting to see someone take advantage of this sacred responsibility.

Like many albums, there’s some tracks that just don’t pass the smell test. “Wake Me Up When September Ends” is one of the more annoying tunes of the decade and about as useless as tits on a bull to the flow of the rest of the album. It’s deficiency is more than compensated though, from the “Jesus of Suburbia” suite, to the deeper, anthemesque “Give Me Novacaine”, all the way through the dramatic conclusion of “Whatsername”.

The album as a whole is a masterpiece coming from a very, very unlikely source. Combined with beer, “The West Wing”, and my wife’s sanity/love,I don’t know how I’d have gotten through the 1st part of the decade without it.