The Greatest Song of All Time

Article by Dave Briggs

“This is not the greatest song in the world.
No, this is just a tribute...”
-Tribute by Tenacious D

One of the questions on which everyone has a different view is a question that has haunted musicians, critics, songwriters, and listeners since the beginning of popular music in general. What is the greatest song of all time? The song Tribute by Tenacious D tells the supposed story of a time when the band's members were confronted by a demon that told them to “'Play the best song in the world / or I'll eat your soul.'” They of course accepted and “played the first thing to come into [their] heads / and it just so happened to be / the best song in the world.” However, after this defeated the demon and they went on their way, they could no longer remember the greatest song in the world, so they wrote Tribute instead. Trust me, it's a lot funnier if you listen to the song instead of reading about it. Musically, it is quite enjoyable as well. The video's a little... uninteresting in the beginning and toward the end, but by now I have gotten away from my original point which was, in fact, discerning what the greatest song of all time is.

But this burning question in turn asks other questions, such as “What makes a song great?” There are many answers to that one as well. Some can say that a song is made great by its complexity; greatness is in the creative use of chord changes, technical rhythms, and interesting melodies and harmonies. Others say that a song is great because it is catchy and singable. If this is the case, then a lot of songs that are very creative and original might be disqualified. Still more say that powerful lyrics are the deciding factor for a song's greatness. But what's powerful to one person may not be powerful to another.

Rolling Stone Magazine, experts on all popular music and pretty much the top music criticism establishment in the nation, say that the greatest song in the world is Bob Dylan's Like a Rolling Stone. I can definitely see where they're coming from: the lyrics are a haunting accusation of the 1960's bourgeois upper class and those who fall from grace and are left without any idea of how to function in the real world. It reflected the anger and disenfranchisement that almost an entire generation was feeling. The music is definitely very good as well, with the jangling guitar and the pleading organ.

However, I just can't get behind this as the greatest song of all time. Yes, yes, say what you will, but I honestly don't think that this song is universally beloved, and I sincerely don't believe that it translates perfectly across generations. It worked wonderfully in its day, don't get me wrong. But there's something about it that I don't like. Maybe it's the fact that I don't find Dylan's vocals enjoyable to listen to. Maybe it's the fact that if you play this at a most parties, people will generally leave the dance floor. Maybe it's the fact that when I saw Dylan play this song live, he was already halfway through the song before I realized what song it was. Call me a philistine if you will, but it is not, in my mind, the greatest song of all time.
So what is?

Before I tell you that, I must remind you that the mere fact that something is my favorite song (currently Elegy by the Youngblood Brass Band. Look it up, you might like it.) does not make it, in my opinion, the greatest song of all time. My favorite band currently is Collective Soul, and I would hardly consider them the greatest band of all time. I like a lot of things that aren't great, though I would like to think that I also like a lot of things that are great. With this disclaimer in mind, I shall now continue. Getting to the point, in my opinion,

The greatest song of all time is Don't Stop Believin' by Journey.

I can't exactly tell you why. The main piano riff is based on a progression of four chords (E, B, Cm, A) that has been used countless times, so the music isn't the most original. The lyrics are good, but they're certainly not the most impressive that have ever been written. So how can this be the best song ever written?

I did not say this was the best song ever written. I merely said this is the greatest song of all time.

I have no idea just what it is that makes this song work. All I can tell you is that I have never met a single person who does not love this song. Play this song at a party, and not only will everybody start to sing along, but they will get out lighters or start swaying or jumping to the music. The main piano riff is probably the most recognizable in all of popular music. The moment the first couple notes are played, everyone knows exactly what song is playing.

I do not mean to say that this song should not be as popular as it is. As it stands, it has so many things that make it wonderful. The sonorous piano, the impressive vocal range of the singer, the plaintive yet hopeful melody, the soaring guitar work, all of this is great. But is it the greatest?

Well... yeah.

By the way, if you have lived under a rock for your entire life and you do not know this song, you can listen to it here.

Playlist Picks: Four in the Morning

Article by Dave Briggs

That’s right! I’m updating again!

One of the wonders of technology to come out of the late nineties is the playlist, and, along with it, the compact disc burner. Those of you from before those days might not realize the effort that went into making a mix tape, but by golly, CD burners made it a heck of a lot easier to assemble list of your favorite songs and listen to it in the car. Anyway, there’s a point to my ramblings. I am pleased to introduce a new feature for The Sixth Trumpet: Playlist Picks! These are short lists of songs, somewhere around twelve songs, for different occasions that can be made into playlists or even burned onto CDs. That is, if you can find them. While I do love the mainstream, I tend to search for a few deeper cuts that work wonderfully for what I’m writing. Anyway, enjoy the first of hopefully many playlist picks to come: Songs for Four in the Morning.

Why four in the morning, you ask? Because for some people, this is the end of the day, and for others, this is the beginning of the day. In either case, few people want harsh, pounding music playing at this ungodly hour, so here are twelve mellow, chill tunes that are great for coming home from a party or leaving home for an early flight.


Black Water – Doobie Brothers: If I had to pick just one classic rock song for this list, which it looks like almost did, I would choose this one. The Doobies don’t get much easier and mellower than this. The a cappella section at the end might lose some listeners, but I personally enjoy it.

Shine – Collective Soul: This song is an interesting case, and its appropriateness depends on the volume of your stereo. At high volumes, this song can be great for rocking out, but when played at a low volume, the buzzing quality of the main guitar riff can be actually quite soothing. However, it loses points because of the high energy solo, which rocks, don’t get me wrong, but depending on the listener, it can be a little too powerful for four in the morning.

Peel Me a Grape – Diana Krall: If you ever feel the need to be crooned to sensually by a woman, there is a great deal of songs that I could recommend, but this one takes the cake. Sure, the lyrics are about the most high-maintenance woman the world has ever known, but there is something downright sexy about the way Diana Krall sings this song.

All Blues – Miles Davis: Whether you’re driving home from a long party, trying to sleep after a hard day, or reading in bed, if you can listen to the same track for eleven minutes, then All Blues by Miles Davis is for you. Off of one of the greatest jazz albums of all time, Kind of Blue, All Blues has an easy, cool swing feel to it. It’s very mellow, yet very melodic. The solos are top notch, which is a good thing, because they take up the bulk of this incredibly long jazz chart.

Think Twice – Groove Armada: What’s this? A sad, lyrical piano piece from Groove Armada? It’s more likely than you think. Actually, it is rather far removed from the electronica group’s normal repertoire, but it’s the contrast to the simple, looped lyrics and synthesizers that makes this song so noteworthy. Sure, if you’re not into lyrics about how hard life is, maybe this isn’t the song for you, but for those who can handle sad songs and waltzes (though this, admittedly, isn’t a waltz), I highly recommend this song.

Where the Sky Begins – Minstrels of Mayhem: Good luck finding this one. The Minstrels of Mayhem were a somewhat obscure group when it comes to popular culture (they had a huge following in the renaissance faire circuit), and now that they’re no longer together, you’re probably not going to be able to find any of their albums very easily. However, the album on which this song appears, Rocky Road, is probably one of my favorite albums. This particular song, like many from the album and from the group, is a reimagining of a traditional Irish folk song. Its understated, though present, rock feel gives it a driving sensation that you might not notice right away.

One for My Baby – Dianne Reeves: George Clooney’s 2005 drama Good Night, and Good Luck featured stunning vocal performances by contemporary jazz singer Dianne Reeves. While the movie was not about the music, and certainly not about Ms. Reeves, her occasional appearances in the studio helped make the film the excellent piece of cinema that it was. Perhaps the most impressive of these performances came during the credits and started out with merely a bass line, slowly layering on vocals, then drums, and then piano. It’s chill, cool, and classy, and a perfect addition to this list.

Ya’ll Stay Up – Youngblood Brass Band featuring Talib Kweli: When you think of songs that help you relax at four in the morning, you might not think of either brass bands or rap artists, but this track has both. In fact, the Youngblood Brass Band, though obscure, is a groundbreaking group that blends jazz influences and New Orleans brass band instrumentation with poetic rap stylings. Their usual emcee, D. H. Skogen, is replaced by alternative Hip Hop artist Talib Kweli, who also had his hand in writing the lyrics. The result is a gentle but strong hip hop sousaphone beat, midnight subway harmonies in the upper horns, and steady but mellow lyrics coming from Kweli. It is certainly not an experience to be missed.

God Bless the Child – Stanley Turrentine: I purposely stayed away from a lot of saxophone-heavy tracks for this list, as anybody with half an ear can figure out that breathy sax is easy to listen to at four in the morning. However, I just couldn’t leave this one off. Maybe it’s the Hammond organ, maybe it’s the approachable solos, or maybe it’s the fact that I’ve always loved this standard, but it was impossible to ignore this chart.

Satellite – Dave Matthews Band: Do I really have to put something so popular on this list? Of course I do. I figured I’d put a song that people might actually have, Simon & Garfunkel and Doobie Brothers notwithstanding. Anyway, despite the fact that I am not a rabid DMB fan, I decided that a Dave Matthews song really deserved to be on this list. It was a tossup between Satellite and Crash into Me, both really chill and deserving songs. However, Satellite won out because the lyrics are a little less… shall we say… creepy. Nothing against Crash into Me, it is a fantastic song, but the lyrics have a few moments that make you wonder. Anyway, Satellite is a mellow and lilting track, with singable lyrics and easy, accessible instrumentation. Enjoy your moment of mainstream, Sixth Trumpet readers, because you haven’t gotten a lot so far.

Scarborough Faire/Canticle – Simon & Garfunkel: I suppose most versions of this old English folk song would be great for four in the morning. However, this version, with its airy lilt and breezy harmonies, is especially recommended when you need something very light and easy that isn’t merely easy listening.

Love Me Like a River Does – Melody Gardot: Pretty much every song Melody Gardot has written would be perfect for this list, but I had to choose this song for its open, dark, midnight feel. The soft horn and cello effects in the background every now and then really add to the late night/early morning mood. This song exemplifies this list, and it is the perfect song to play at four in the morning.

Album Review: "Worrisome Heart" by Melody Gardot

Article by Dave Briggs

It’s no secret that one of my favorite genres, if not my all-time favorite genre, is jazz. I dig that jazzy sound from its roots in New Orleans Dixieland, on through the big band swing era, into bebop with Bird, cool with Davis, classy with Brubeck, power with Maynard, intensity with Buddy, on into the contemporary era with Wynton, Bergeron, and so many others taking the reins. I love the instrumentalists, the bands, and the vocalists who have each brought their own personal spin to the genre. I’m always on the lookout for someone I haven’t heard yet who will take over my stereo system. But I don’t think there was an artist that took me quite so by surprise than Melody Gardot with her first album, Worrisome Heart.

What a find this one was. I was on the iTunes store one day in the earlier part of last year when I stumbled across Melody’s single (after which the album is named), Worrisome Heart, as a free download. I was pleasantly surprised to find Jazz as free content. After a short download, I gave it a listen and I was astounded. The music was just about the coolest, slinkiest blues one could imagine. The sparse piano reminded me of Gershwin’s Summertime, and there was a brief muted trumpet part that was so unbelievably hip. But this was all before the first minute was up. About 45 seconds in, Miss Gardot started singing, and I absolutely melted. Her voice has been compared to Diana Krall, but Melody’s voice is much subtler. She has also been compared to Norah Jones, but Melody’s voice is much sultrier. I honestly can’t think of a vocal timbre that I have enjoyed more than Melody Gardot’s. As current Jazz vocalists go, she is probably my new favorite, edging out even the incredible Krall and Jones.

Once I finally bought the whole album, I realized that the titular track was no fluke. Worrisome Heart is a brilliant album, full of sultry original jazz, such as the seductive, bass driven Goodnite, the sonorous, free floating Love Me like a River Does, and the sweltering, sizzling Quiet Fire. The whole affair is an incredible experience that can be enjoyed equally well alone or with a fancier.

The only problem is that the album is just over half an hour long, which definitely leaves the audience wanting more. However, it also means there is no filler here. Every track, even the short instrumental Twilight at the end, is meaningful and excellent. In addition, every song is an original, written by Miss Gardot herself. There is absolutely no reason not to buy this album if you’re a jazz fan who wants something new, if you’re looking for an easy introduction into jazz, or if you’re just looking for a female vocalist that differs from what plays on the radio.


Note: Miss Gardot's second album, My One and Only Thrill, is currently available in the United Kingdom and will be released in the United States on April 28. Expect a review sometime after I can get a hold of it.

Album Review: "Home" by Collective Soul

Note: this review was first published in the March 2006 issue of Scope.

Many rock bands who have tried concert collaborations with orchestras have failed miserably, but Collective Soul’s Home: A Live Concert Recording with the Atlanta Symphony Youth Orchestra is very different. Home is a breathtaking album that features some of Collective Soul’s best work, complimented by amazing orchestral arrangement.

One of the things that have always impressed me about Collective Soul is their ability to create beautiful, emotional ballads as well as straightforward, hard rockers, and yet neither style lacks anything. Sometimes they combine the two styles, and despite what might be the norm, this almost always seems to work. The expressive nature of Collective Soul’s music is highlighted very well by the Atlanta Symphony Youth Orchestra’s professional sound. The first time I heard this album, I was absolutely blown away by the sheer power of it all.

The first song I listened to was one of their bigger hits, December. December is a mid-tempo rock song that features brilliant guitar work and powerful vocals. It was always a first-rate song, but this version has a musical depth that the original never seemed to have. It is true that the vocals don’t sound the same, but that happens with so many concert recordings. December alone could be well worth buying the disc, but there are many more great songs.

Compliment, the next track on the album, is an expressive rock ballad that later combines with hard rock. It starts out with a graceful orchestral movement, followed by a guitar line that can only really be compared to The Who. The vocals that then enter send chills down the spine. Then the guitar becomes heavier, and though it begins to get a hard rock feel, it still seems like a ballad. This is a beautiful song that seems to get the atmosphere of the entire album.
Starting with heavy drums and Aerosmith-like guitar is Precious Declaration. This is definite Collective Soul hard rock, and the burning guitar is complimented quite well by searing orchestral work. While it is clearly not the best song on the album, it is a good song, even for those who don’t like hard rock.

Three tracks later is another one of Collective Soul’s big hits, a ballad called The World I Know. The music is calm, sounding somewhat resigned, and it has a sort of buzzing feel, with the guitar occasionally ringing throughout. The lyrics are sad, but not depressing. I was never really affected by the original cut, but the live version with the orchestra is so much more powerful, I am almost brought to tears when I hear it.

Starting out the second disc is the emotional Crown. The music in this song is almost entirely orchestral. It is also entirely beautiful. The vocals are sad and compelling, and the orchestra is strong and dynamic throughout. This is a hauntingly lovely and passionate piece, and a wonderful opener to disc two.

One of their more recent hits, Better Now, is also featured on this album. The guitar seems to have some more bite, and the orchestra makes it feel fresher. However, I think this version leaves out some of the many enjoyable things about the original, and it falls somewhat short. In addition, the audience sings “the world’s done shakin’ me down” for too long, and, however exciting it may be during the live concert, it gets boring on a sound recording.

The next track is Satellite, a song written by the lead singer for his three-year-old son. It has a very calming and chill feel to it, almost like a lullaby. In the middle of the song, there is a somewhat spacey and warbling guitar solo. The lyrics are comforting and loving, talking about how he will watch over and protect his son. It is very pleasant and quite relaxing.

The last song (excluding the bonus track) is perhaps their most popular song, Shine. The highlight of this piece has always been the unforgettable guitar riffs, and when the orchestra comes in on this version, they are just etched into the mind. This is the song that first made me love music, and this live cut makes it one of the most wonderful songs I know.

Of course, there were other great tracks not mentioned here, such as the ballads Needs, Run, and How Do You Love; Gel, widely praised as their best song; and the bonus studio track, Burn. However, it is impossible to say all that there is to say about this album, so I’ll just say this: Home is worth every penny at any price.