Deus X Makina

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Follow my progress as I reach to my goal of reducing my golf handicap by 15 strokes, reducing my weight by 15 pounds, and reducing my body fat percentage to 15%, all by November 4, 2010, the date of the my wife's managers' conference in Naples, Florida at the Ritz-Carlton Hotel and Resort.

Top 50 Songs of the Aughts (50-41)

Written by Dan Hermann
Monday, 07 December 2009 17:20
*50. "Give It To Me", by Timbaland (Shock Value, 2007), featuring Justin Timberlake & Nelly Furtado* It would be tough to deny the absolute force that Timbaland was during the past decade. Throughout the first half he was content to produce some very high quality tracks (from Aaliyah, Missy Elliott, and Brandy, among many others), but then dropped Shock Value on us in 2007, destroying any notion that he was just a bright producer and would have trouble on a "solo album". "Give It To Me" was the first single and a perfect choice to round out the fiftieth spot, though Timbaland makes several other appearances in my list as a producer. Timberlake and Furtado add great, albeit smug, verses to his moving beat track, and this is a great example of Hip-Hop being perfectly accessible by the Pop crowd without losing any of the cutting rhythms. It is also notable that Timbaland has been so busy since then that to name all his produced works would take several paragraphs. It will be interesting to see if his popularity lasts as long as some of the other major producers of the 80's and 90's, such as Dr. Dre or Jay-Z. "I saw you trying to act cute on TV / just let me clear the air / We missed you on the charts last week / damn, that's right, you wasn't there" *49. "Sympathy", by Sleater-Kinney (One Beat, 2002)* Probably the best band that continually dodged popularity while making great music, Sleater-Kinney quietly created One Beat and The Woods, then called it quits in 2006. You could usually count on them for a quote for the latest Spin article on how small bands are affected by the latest digital music trend, but even now it appears that their mark is fading. They were a premier example for female singers and (though I despise the term) riot grrrl rock, and "Sympathy" is a great example of their feminist message being part of a well-designed, well-executed alternative song. Strangely, I almost prefer their former album, One Beat, with its strong political voice in addition to some great lyrical tracks, but The Woods and its oddly oversampled tone is equally attractive. Paramore seems to use their style as a basis for more popular music, but I doubt any women, or any men, will capture the raw vocalization and trendy while timeless songwriting anytime soon. "I've got this curse in my hands / All I touch fades to black turns to dust turns to sand / I've got this curse on my tongue / All I taste is the rust this decay in my blood" *48. "12:51", by The Strokes (Room on Fire, 2003)* The only band from the so-called "Three-Chord Revolution" worth mentioning, the Strokes created two fantastic albums, Is This It and Room On Fire, but largely dropped out of touch after their tour ended in 2004. The decision to switch producers from Gordon Raphael to David Kahne, the latter of which is much more known but failed to keep the band's rough sound appeal, may have had a large part in the disappointment of the last album, First Impressions of Earth. Nevertheless, bad albums do not erase the ghost of greatness. Also, if you have not seen the video for "12:51", you really must. It's a rare gem. "Talk to me now I'm older / Your friend told you 'cause I told her / Friday nights have been lonely / Change your plans and then phone me" *47. "This Celluloid Dream", by AFI (Sing the Sorrow, 2003)* Sing the Sorrow was one of the best albums of 2003, and an early sign in the decade of the strength of the hard alternative genre that ultimately failed to deliver. Since then, bands have solemnly divided themselves into the screamers (e.g. Staind, Rise Against, or Slipknot) and the emo (e.g. Nickelback, Hinder, or Hoobastank). Even AFI have had trouble duplicating the power of Sing the Sorrow, DECEMBERUNDERGROUND being the most saddening second album since Razorblade Suitcase. Still, with bands like AFI and new entries like Paramore, hope remains for hard alternative. Hopefully, it will regain its roots in the 10's. "In the glitter, in the dark, sunk into velvet / praying this will never end / In the shadow of a star, in static pallor / I realized I never began" *46. "That Was Just Your Life", by Metallica (Death Magnetic, 2008)* Metallica, since Metallica in 1991, has been the strangest band alive. Eccentric (or insane, take your pick) Load and Reload, the band's obvious attempt to gain a legacy unlike those of Megadeth, Slayer, and their thrash metal ilk, firmly left their fanbase scratching their shaved heads, saying, "What band is this, again?" Garage, Inc. was a bizarre collection of covers, and even James Hetfield admits that some tracks from S & M were pretty weird. The loss of Jason Newsted, Lars Ulrich's obsession with Napster, and James's substance abuse clearly affected St. Anger, which I readily admit I cannot listen to due to Lars' decision to unfasten the snare drum. And when I heard that Bob Rock was not producing Death Magnetic, I thought they were soon to hit bottom. Instead, the album stands on its own, using ...And Justice For All and Ride the Lightning as an influence rather than a reference. I would have thought it tough to create an album for the masses with long track times ("That Was Just Your Life" runs 7:08 and only one song on the album runs less than 6:40), but if anyone can do it, I guess Metallica can. What next, fellas? "Like a release from prison that I didn't know I was in / Like a fight to live the past I prayed to leave from way back then / Like a general without a mission until the wars will start again" *45. "Up The Cuts", by Against Me! (New Wave, 2006)* This song is the first of the entries that was largely ignored by the label, but I felt was the strongest of the album. I agree that "Thrash Unreal" is a great single, but it's going to be hard for any song to get me going with lyrics about vomit and cougars. In any case, Against Me!, along with other bands like Living Things and Tool, refuse to be classified as straight hard rock, or anything mainstream, for that matter. Their goal does not seem to be #1 tracks on the Billboard charts, but if one happens to end up there, then they'll take the check. New Wave as an album kicks like British punk while maintaining a good ol' American rock root, and their lyrics are definitely some of the best out there right now. With their proximity to Dave Grohl on the Foo Fighters tour, this is definitely a band from whom to keep expecting great things. "All the punks still singing the same song / Is there anyone thinking what I am? / Is there any other alternative? / Are you restless like me?" *44. "Tribute", by Tenacious D (Tenacious D, 2001)* It's remarkably difficult to truly enjoy the power of the D without either seeing the duo perform or at least catching the masterful music video for "Tribute". Jack Black, while his movie career appears destined for Adam Sandler-like ridiculousness, will always have a home on the stage next to Kyle Gass. When you take a break from the spectacle and examine the hands on their guitars, however, the talent is quite evident, and I really wonder if anyone would have paid any attention if they didn't rock quite so damn hard. I just wish Tenacious D had been proffered a sizeable role in School of Rock, the adorable rock epic. "This is just a tribute / You gotta believe me / Wish you were there man / Just a matter of opinion" 43. "Very Busy People", by the Limousines (2009) Electronica had a really disappointing decade. After the promise of The Chemical Brothers' Dig Your Own Hole and Moby's Play, we really saw the primary bands of the genre move into obscurity and not be replaced, many artists instead incorporating techno sound into their indie bands (The Magnetic Fields, The Thievery Corporation, etc.). I was pleasantly surprised to hear this strange one-shot single a few weeks ago from some band probably destined for a career in headlining weak house bands, the last song to make it into the list. It's not remarkable if you only examine its simple beat and hook, but somehow the Limousines nailed the most amazing set of lyrics. They're relevant, trendy, and a lot of fun to listen to. "That Donnie Darko DVD has been playing for a week / and we know every single word / I got an iPod like a pirate ship / I'll sail the sea with fifty thousand songs I've never heard / and all the best of them go..." *42. "Love Story", by Taylor Swift (Fearless, 2009)* Okay, okay. I know what you're saying. Country? And worse, pop country? Yeah, I admit a soft spot in my criticism for the styles of Shanaia Twain and Carrie Underwood, and it's amplified because I have little experience or desire to gain experience in deeper country cuts. But "Love Story" was written by Swift, and is an excellent example of modern storytelling. Its simple melody melds very well with her full yet timid voice, and I stand by the pick, even though I am sure my Metallica-loving friends will make me eat it for lunch. "We were both young when I first saw you / I close my eyes and the flashback starts / I'm standing there / on a balcony in summer air" *41. "Crazy", by Gnarls Barkley (St. Elsewhere, 2006)* "Crazy" is a fable of success; I'm extremely happy when great music is well-rewarded by radio airtime and matching financial rewards, and "Crazy" is certainly a profitable anomaly. Gnarls Barkley is a straight hip-hop group: Cee-Lo received a wide amount of fame (or infamy) for his mash-up, The Grey Album, which combined Jay-Z's The Black Album with the Beatles' The White Album. "Crazy" is accessible to anyone with a pulse but it overcomes simple classification with a strong bass line and terrific production by Danger Mouse. Additionally, the video is disturbingly attractive to watch. Go find it if you can. "Come on now, who do you / who do you who do you who do you think you are? / Ha ha ha, bless your soul / you really think you're in control?"
Last Updated on Monday, 07 December 2009 18:37

Top 50 Songs of the Aughts (40-31)

Written by Dan Hermann
Monday, 07 December 2009 17:20
*40. "Grapevine Fires", by Death Cab for Cutie (Narrow Stairs, 2008)* Yet another song with absolutely zero airtime or quantified popularity, I was intensely enamored by its intense story: two friends visit a cemetery with one's young daughter and a bottle of wine in tow, to watch an out of control fire. The song itself isn't Death Cab's best, perhaps even indistinguishable, but the melodic voice of Ben Gibbard rings out, finding your center and bringing it into harmony with the haunting sadness. "The firemen worked in double shifts / with prayers for rain on their lips / They knew it was just a matter of time" *39. "Dead Sound", by The Raveonettes (Lust, Lust, Lust, 2007)* There are few bands I want to succeed in the American market more than the Raveonettes. They absolutely torch the idea that there are no more new sounds to find and have put out three high quality records this decade, Chain Gang of Love, Pretty in Black, and Lust, Lust, Lust. They are adored by the European punk scene and I just wonder what it's going to take for an American label to bring them into the spotlight. I find the hard rock combination with 50's style guitar riffs to be fantastic and easy to listen to. "Dead Sound" is a prime example of what they're capable of, and what I'm sure they're going to continue to output great stuff for quite some time. "It's oh so cold on the other side / where thoughts can turn you down / You make the eyes of a million girls / but I see no girl around" *38. "In the Cold, Cold Night", by The White Stripes (Elephant, 2003)* The White Stripes have been an everpresent part of this decade, whether it be in the tabloid obsession with determining Jack and Meg White's relationship, Jack's excellent side project, The Raconteurs, or the strange attraction of Jack's appearances in Cold Mountain and Walk Hard. Sandwiched between the plain White Blood Cells and Icky Thump, Elephant and Get Behind Me Satan somehow got a bizarre amount of radio airtime with singles like "Seven Nation Army" and "Blue Orchid". "In the Cold, Cold Night" was a very tough choice to make, since both albums are chock full of memorable, appealing tracks like "The Air Beneath Your Fingers", "My Doorbell", and "Take, Take, Take". I find Meg's voice a touch more soothing, yet frightening, on this track, which is strange because usually I shy away from short songs (2:58). Jack is definitely one of the best guitarists we have seen mature in the last ten years, and there really is no telling what these two will come up with next. "You make me feel a little older / like a full grown woman might / but when you're gone I grow colder / Come to me again in the cold, cold night" *37. "Black Thumbnail", by Kings of Leon (Because of the Times, 2007)* The Kings of Leon were a fascinating band to watch mature and grow into popularity. I have been listening to them since their first EP, Holy Roller Novocaine, and really enjoyed their first album, Youth and Young Manhood, as well, as the new kind of sound similar to what I found with the Raveonettes: a 1960's set of riffs with a modern implementation. They further impressed me with Because of the Times, and "Black Thumbnail" really encapsulates the southern rock roots mixed with British alternative style. I thought they took a small step backward with Only by the Night, though the singles "Sex on Fire" and "Use Somebody" are reasonably pleasant, but the album fails to maintain cohesion through the middle tracks. I wish them the best of luck. "My cold, cold sailor heart says get on your way / I ain't to proud to say but thats how I'm made / I'll be that person 'til my dying day / I try so awful hard, but I can't change" *36. "Don't Let Him Waste Your Time", by Jarvis Cocker (Jarvis, 2006)* British alternative is tough to qualify as a genre, but when I hear it, I know it, and Jarvis Cocker is a great example. The tracks go from driving punk to near thrash metal to a tear-jerking ballad to a goofy song about fat kids, but somehow, the album stays together. I really liked Jarvis and "Don't Let Him Waste Your Time" gets it started off right. The lyrics are pissed but noble, and Jarvis's wide combination of instruments make the track catchy and endearing. "Let him read your palm and guess your sign / Let him take you home and treat you so fine / but baby, don't let him waste your time" *35. "Silver Lining", by Rilo Kiley (Under the Blacklight, 2007)* Rilo Kiley is a strange beast. Jenny Lewis and her crew have been around for awhile, made some okay albums, and you've got that one friend who's really into them and sees their shows whenever they're at the local indie club. And Jenny's voice is sultry, washing you with twentysomething lyrics about something trendy. But be serious. Rilo Kiley? Come on. Under the Blacklight, however, changed all that. No longer were they the band that you would pick up an occasional song on iTunes ("With Arms Outstretched" from The Execution of All Things was mine); this album grabs you, sucks your face off, knees you in the stomach, and walks away. "Silver Lining" leads off with this exact sentiment, primarily because you're expecting more of the same thing you've heard from them. The real question is: was this album the exception or have they finally matured? "And the grass it was a ticking / And the sun was on the rise / I never felt so wicked / as when I willed our love to die" *34. "Zero", by Yeah Yeah Yeahs (It's Blitz!, 2009)* The most remarkable item of note about this selection is that I almost had to leave this band off the list altogether: I loved Gold Lion, but there seemed to be no tracks presentable to singular selection. Fever to Tell was excellent as well, but juvenile: they really hadn't been at it that long when writing "Y Control" and "Modern Romance". Luckily, my patience was rewarded by It's Blitz!, clearly their best work and the best album I have yet heard from 2009. "Zero" possesses a little extra boost from the guitarist Nick Zinner, and makes it onto my list. I love the low rumble of Karen O's voice and she really translates onto the album quite well. Hopefully she, and her crew, will keep the flame going in future efforts. "Shake it like a ladder to the sun / Makes me feel like a madman on the run / Find me, never, never far gone / So get your leather, leather, on, on, on, on" *33. "Sometime Around Midnight", by The Airborne Toxic Event (The Airborne Toxic Event, 2008)* The first of my "one-hit wonders", I know absolutely nothing about anything else this band has done. The strange thing is they released their debut album last year, and we just didn't hear about it until now, and even then, it was only because I have an alternative/indie college radio station barely within my FM radio's range. True, I am an iTunes fanatic, and some of my fellows might point out that the iStore identified this song as the "best" alternative song of 2008, but now that I know this I will have to investigate their awards more thoroughly. The simple fact remains: this song blew my mind. The lyrics, the riffs, and even the melodramatic intro, take me to another place. "The room suddenly spinning / she walks up and asks how you are / so you can smell her perfume / you can see her lying naked in your arms" *32. "Some Red Handed Sleight of Hand", by Cursive (The Ugly Organ, 2003)* Cursive is a band that I happened upon way back when, and I since then have been eagerly awaiting a follow-up to The Ugly Organ that never came. Even the album itself seems to unravel with inept tracks like "Driftwood: A Fairy Tale" and "Harold Weathervein". I do not think that Cursive, as a band, is untalented, only that it chooses a single moment of clarity versus several moments of muddled cacophony. "Some Red Handed Sleight of Hand" is a chorus, a juxtaposition of all the metal that came before into something much more intelligent. "This is my body, this is the blood I found / on my hands after I wrote this album / Play it off as stigmata for crossover fans / some red handed sleight of hand." *31. "Welcome To The Black Parade", by My Chemical Romance (The Black Parade, 2006)* "SCANDAL!" you decry? A place in the halls of superiority for the cheap sounds of a pop alternative group? I know... and disagree. I cannot help it. The Black Parade was one of my secret loves, and I listened to it in private, away from the prying eyes of the critical. It's... good. It's really good. The whole thing. "Teenagers"? "Blood"? "Mama"? They're not emo pop; they're classic rock tracks. Just... listen to it. You'll like it, though unwillingly. "Welcome to the Black Parade" is the triumph of the sound, culminating in a beautiful climax that has to make you stop whatever you're doing and think of trumpets and flowing silk banners. Give in to those feelings. Realize that it's okay to like genres you normally don't. It's okay to like bands that previously dwelt in a class with Blink 182 and Linkin Park (though they have made some okay albums, too... but start with My Chemical Romance). "And while that sends you reeling from decimated dreams / Your misery and hate will kill us all / So paint it black and take it back / Let's shout out loud and clear / Do you fight it to the end?"
Last Updated on Monday, 07 December 2009 18:40

Top 50 Songs of the Aughts (30-21)

Written by Dan Hermann
Monday, 07 December 2009 17:20
*30. "Fake Empire", by The National (Boxer, 2007)* This is another first track off a phenomenal album, and since I mention it, I'll also mention that only one song on this list is the last track of the album (see #5 below). And since there really isn't much to talk about "Fake Empire", except that it's great indie rock and was, perhaps surprisingly, used several times by President Obama's 2008 campaign, including as background for his Grant Park Victory Celebration video, I'll expound upon the track number oddities: is it astounding to you to learn that 24 tracks of this list were either #1, #2, or #5 on the album? Apparently bands are much more interested in grabbing your attention than finishing strong (see also: any, and I mean any, album by U2). Lastly, only 1 track was placed at #6, and no songs at all at #8, followed again by no songs after #14, but that seems normal because most albums have 10-13 tracks. What goes into track placement, besides the obvious: people are more likely to preview the first few tracks of an album when deciding to buy it than the last few. Perhaps it is my own shortcoming, placing a higher aesthetic value on earlier songs than later? I guess I cannot objectively say. Anyway, "Fake Empire" is great. "Turn the light out say goodnight / No thinking for a little while / Let's not try to figure out everything at once / It’s hard to keep track of you falling through the sky" *29. "The Underdog", by Spoon (Ga Ga Ga Ga Ga, 2007)* Ah, Spoon. Between 2005, the year of Gimme Fiction's release and Ga Ga Ga Ga Ga's release in 2007, I was continually asked by music-savvy friends and iTunes/Amazon algorithms if I had heard of Spoon, and I honestly did give Gimme Fiction a fair shake: I wasn't impressed. It sounded like typical indie rock, without direction or purpose. Ga Ga Ga Ga Ga quintessentially blew me away in 2007, courting me with top-notch tracks like "You Got Yr. Cherry Bomb", "Don't You Evah", and the magnificently catchy "The Underdog". Its quick tempo and old school hook really hum with life. "I want to forget how conviction fits / but can I get out from under it? / Can I gut it out of me? / It can’t all be wedding cake / It can’t all be boiled away" *28. "Halfway Home", by TV on the Radio (Dear Science, 2008)* I had the extreme privilege of listening to their two most recent albums, Return to Cookie Mountain and Dear Science, before seeing them appear on The Colbert Report, but I'll ruin their secret for you: Tunde Adebimpe and Kyp Malone, the two singers? They're black! Run in fear! A black indie band! Raised in Pittsburgh! Dear lord, what will the neighbors say? Well, it's easy to hear the talent coming from every member of this band, a strong blend of thoughtful lyrics, intense drum beats, and everything in between. "The efforts to allay your dread / in spite of all you knew and said / were hard to see and harder still to say" *27. "B.O.B.", by OutKast (Stankonia, 2000)* "Uno, dos, tres, it's on!" There are really few bands that are as much fun to listen to as Outkast, even though I feel Andre 3000 is the strength of the group, and Big Boi's rhymes are largely ridiculous and irrelevant. You take the good with the bad, though, and even he adds something to this amplified Hip-Hop anthem. The record scratches relate back to their 90's roots, but Stankonia is, by far, their best album to date, and showed how much they had grown since "Rosa Parks". "In-slum-national, underground / thunder pounds when I stomp the ground / like a million elephants and silverback orangutans / you can't stop a train" *26. "I'm Shipping Up to Boston", by Dropkick Murphys (The Warrior's Code, 2005)* I swear I had heard this song before I saw The Departed, but I'm not sure where or when I would have. In either case, if any song on this list should be on your workout mix, it's this one. These Irishmen kick serious ass, even when, and this is quite remarkable to me, using lyrics from Woody Guthrie. Only one other song on this list is a cover, if simply exporting lyrics qualifies as that. It's tough not to love the bagpipes fusing with the almost metal sound of the guitars. I wish the song was longer, but I'll take what I can get. "I'm a sailor peg / and I've lost my leg / Climbing up the top sails / I lost my leg!" *25. "Hide and Seek", by Imogen Heap (Speak for Yourself, 2005)* What amazes me is that self-harmonizing has been going on for years. Years and years. When singers want to add a single harmony line but not someone else's name to the album cover (and their bassist won't be branching out for a solo career anytime soon), who better to put on the track but yourself? This experiment takes it to a new level, but since Imogen's voice sounds like silk on velvet, it's easy to love. I don't even mind Kid Cudi sampling it: you have great taste, sir! I'll also take this opportunity to note something quite strange I stumbled upon when compiling this list: only eight female vocalists made it, and that includes Meg White. Is it me, or is it them? I love strong voices (Regina Spektor barely missed with "Infidelity" or "The Calculation"), so are fewer ladies singing well, am I exposed to ladies less, or do I just prefer male voices? I also notice this when watching the Oscars: I usually find myself judging the Best Actor nominees' movies as better than the Best Actresses, but in contrast, I bet that's because I identify with the female characters less. Do I identify with female singers and songwriters less in the same manner? "Ransom notes keep falling out your mouth / mid-sweet talk, newspaper word cut-outs / Speak no feeling, no I don't believe you / You don't care a bit. You don't care a bit." *24. "Hip Hop Is Dead", by NaS (Hip Hop Is Dead, 2006), featuring will.i.am* Is NaS is the dark horse of hardcore Rap, or the black sheep? Sad clichés aside, he really has been a solid source of guttural, regenerating rhymes throughout his tumultuous career. I find his political beliefs quite progressive, and I respect him for speaking out at times while not becoming Sean Penn. He's definitely got a style that slides off to a corner, out of the way but impossible to ignore for long. will.i.am produces this track very well, smartly choosing Iron Butterfly's classic "In-a-Gadda-da-Vida" as the prime sample, and letting NaS off his leash with a beat that wavers in and out in perfect synch with NaS's fervor. "Criticize that, why is that? / 'Cuz Nas' rap is compared to legitimized crap / 'Cuz we love to talk on ass we gettin' / most intellectuals will only half listen" *23. "Lose Yourself", by Eminem (8 Mile, 2002)* Note this song: 1) only song written for a soundtrack and 2) only artist to appear twice (sorry, Ben Gibbard, two bands don't count). How many different ways can I write that Eminem is gifted? The light piano background hook and heavy rhythm guitar provide an excellent base for his voice, and the lyrics are just dead on. Granted, I think it would be really tough for a black rapper to add a rhyme about a "schmoe who flows", but the storytelling is solid and presents a snapshot of a life the only way Eminem can. "Look, if you had one shot, one opportunity / to seize everything you ever wanted in one moment / would you capture it or just let it slip?" *22. "Bodysnatchers", by Radiohead (In Rainbows, 2007)* What to say about Thom Yorke and Radiohead? Talented? Sure. Prophets? Maybe. Unpredictable? Always. In Rainbows, not only noteworthy for being the first album since their anathemas of Kid A, Amnesiac, and Hail to the Thief, but also because they chose to release it as a digital download and set your own price when purchasing it. In all seriousness, I paid full price for it from Amazon.com (I like to own discs), and it was worth every penny. "Bodysnatchers" is a superlative example of the band's ability to sound frantic and calm at the same time, taking normal instruments and riffs and twisting them into musical greatness. "Has the light gone out for you? / 'Cause the light's gone out for me / It is the 21st century / It is the 21st century" *21. "Such Great Heights", by The Postal Service (Give Up, 2003)* Ben Gibbard sighting! This occurrence is less and less rare, however: his brilliance finds a way to attach itself to bright indie performers, a kind of reverse parasite, infusing tracks and albums holistically. I was surprised he sold this song to UPS for their increasingly irritating commercials, but that fact doesn't detract from its obvious electronic roots founding something greater in the indie genre. The layered keyboard gives the listener the feeling of a summer storm, drenching you with a humming tune that sticks in your mind for hours. "When you are out there on the road / for several weeks of shows / and when you scan the radio / I hope this song will guide you home"
Last Updated on Tuesday, 08 December 2009 17:57

Top 50 Songs of the Aughts (20-11)

Written by Dan Hermann
Monday, 07 December 2009 17:19
*20. "Capital G", by Nine Inch Nails (Year Zero, 2007)* Trent Reznor: musical genius, masterful producer… political activist? I guess with Rage Against the Machine now broken up we will take what we can get, and this song is clever and gritty in a way Conor Oberst will never duplicate. But since we're talking about bands of the 90's, why not go ahead and list the Top 9 Disappointing Bands of the Aughts: Rage Against the Machine If you spend your musical career making terrific, politically-charged music in a search for relevance and credibility, you lose the ability to break up because Zach de la Rocha is feuding with his bassist. Smashing Pumpkins How can I be disappointed? The Pumpkins broke up in 2000, after Adore and Machina, the two most forgettable albums ever put out by a good band. After that, we were rewarded with Zwan and Mary Star of the Sea in 2002, which was a decent opening album for what appeared to be Billy Corgan and Jimmy Chamberlain's new pet project. Unfortunately, after that we had years of nothing except angry blogs posts between Corgan, D'arcy, and James, before they reunited for Zeitgeist, which wasn't much better than where they left off. I guess it's just a big letdown when a band makes Gish and Siamese Dream, really steps it up with Mellon Collie and the Infinite Sadness, right when my generation was searching for a new sound (NKOTB had split, it was rough time), and they never quite return to that level of greatness. Dave Matthews Band No free pass, Dave! Yes, okay, Big Whiskey and the GrooGrux King is great, but you waited nine years to put that one out. Remember in 1998, when "Stay (Wasting Time)" was on every radio station in the country, a scant two years after "Crash" permeated our entire musical society even with its intensely sexual lyrics? Remember how everyone thought DMB was poised to take over popular music for the next 10 years? Sorry, folks, turns out Dave loved to tour. What followed was two dozen live performance bootlegs which I'm sure was "totally killer" if you were actually at Red Rocks. Everyday, Busted Stuff, and Stand Up, his weak, unimaginative studio sessions desperately thrown together before returning to the road, were all we got. Don't worry, I'm sure we'll hear "The Christmas Song" about four dozen times this holiday season. The Wallflowers I know it's tough to live up to the legend of your father, so maybe Jakob Dylan was doomed from the start, but Bringing Down the Horse was successful. So what happened? (Breach) was very good, and it looked like Jakob was really starting to find a sound he could believe in, but Red Letter Days and Rebel, Sweetheart were colorless and provided him a good reason to try a solo album, Seeing Things, which was decidedly worse. The promise of lineage, indeed. The Foo Fighters Similarly, Dave Grohl comes from strong musical heritage, and when There Is Nothing Left to Lose hit us at the turn of the millennium, we knew we expected great things from him in the future. One By One was our reward, apparently, because the following albums, In Your Honor and Echoes, Silence, Patience & Grace were mindless exercises to get back to touring and make it look like Dave was actually trying. And a greatest hits album this year? The nerve! Barenaked Ladies "No," you shout, "I love Barenaked Ladies! They're terrific!" Oh, yeah? Then why are we still hearing "A Million Dollars" and "One Week"? Oh, I know why: because they made a total of zero interesting albums and refused (or were unable) to grow at all as a band in the slightest amount. "Another Postcard"? Seriously? Chimpanzees? R.E.M. Watching this band, which I would have to say was my favorite band (if forced to choose) for a long time, descend into lifelessness has been tragic. Motivated (I assume) purely by their intention to honor their contract with the label, they continue to pump out bland, meaningless records full of tracks attempting to sound like "It's the End of the World As We Know It" or "Stand". Boy, did Bill Berry see what was coming from a mile away or what? U2 Remember Achtung Baby? Remember listening to that album forever because it was so fantastic? How about The Joshua Tree? Just put it on repeat, right? Maybe you even fell in love with The Unforgettable Fire, way back when. Well, fellas, those days are gone. I guess we should have seen it coming with Pop, but this decade was filled with three albums that consisted of one song each that Bono sold to an iTunes commercial, and a bunch of weak, emo songs like "Yahweh" and "Grace" to fuel his massive ego and keep him clinging to the world stage. You're done. See if you can refrain from further endangering your musical legacy. Weezer If you were alive near 1994, you know the power and glory of The Blue Album. It had a majesty to it from start to finish, and destroyed faces from coast to coast. But everyone has that one friend, the music junkie, who says "Oh, you like the blue album? Man, you should listen to Pinkerton. That album is amazing!" And it's an interesting choice, which you prefer. But the downhill slide started with The Green Album, continued with Maladroit, which was still okay: not their best stuff but maybe they can switch it around for next time, but it just fell through the floor with Make Believe. What the fuck is this, River? Baseball analogies? I couldn't even bring myself to purchase The Red Album, and Raditude was just an opportunity to spit in the face of anyone who had already graduated from high school and found this tripe to be just plain stupid. Please, just stop. "Don't try to tell me that some power can corrupt a person / you haven't had enough to know what its like / You're only angry 'cause you wish you were in my position / now nod your head because you know that I'm right" *19. "Hip-Hop Saved My Life", by Lupe Fiasco (Lupe Fiasco's The Cool, 2007), featuring Nikki Jean* As prevalent as indie has been throughout the decade, the Aughts have really been owned by Rap. It's been strange to see it mix with suburban white society, and "lighten", combining with Hip-Hop for the college dance crowd as well. But what Jay-Z, Eminem, and Andre 3000 know is that you don't need to change Rap to make it appealing to a larger audience, you just need to do it well. Lupe Fiasco is the pinnacle of this sentiment, and I make this prediction right now: he will be the voice that the next generation uses after turning from Kanye West and his imploding spectacle. His rhymes are simply the most intelligent ones out there today, bar none, and his storytelling and mixing is top-notch. You will hear this song soon. Watch for it. "Throw a concert for the school / Show them that's it cool / Throw some candy on the Cadi / chuck the deuce and act a fool / Man it feels good when it happens like that / two days from goin back to selling crack, yessir" *18. "You Will. You? Will. You? Will. You? Will.", by Bright Eyes (Lifted, 2002)* Conor Oberst is the most popular name that you might not know. While Ben Gibbard and company rotate throughout the indie scene, Oberst hangs on the periphery, making absolutely terrific albums without much care for who would ever care to listen to such strange sounds. It suits him, and his "breakthrough" album Lifted really announced his arrival (he's been making music since the mid-90's) in grand fashion, with odd sampling methods and an antique feel to modern music. This song is a prime example of his hallowed songwriting skills, the lyrics being crisp slices of a joyous journey, designed to make you want to hear the rest of the story of the young lovers. Goofy, quizzical, brash, but most of all: honest. "Now I write when I'm away, letters that you'll never read / You said, 'Go explore those other women, the geography of their bodies / but there's just one map you'll need / You're a boomerang you'll see / You will return to me'" *17. "Theologians", by Wilco (A Ghost is Born, 2004)* Wilco, perhaps the leader of the indie genre, had a very good decade. They started with Billy Bragg and an album of Woody Guthrie covers on Mermaid Avenue, pushed the envelope with Yankee Hotel Foxtrot, blew the doors off with A Ghost Is Born, and just set the wreckage of mainstream, untalented music on fire with their self-titled album this past year. Theologians is as close as one could get to a "title track" for A Ghost Is Born, and really shows how far the band has come and gives you the slightest hint of how far they can go, in this decade and the next. "I'm going away / where you will look for me / Where I'm going you cannot come / No one's ever gonna take my life from me / I lay it down / A ghost is born" *16. "You Know You're Right", by Nirvana (Nirvana, 2002)* Now, I had to make some tough choices when compiling this list, the most antagonizing being how to handle posthumous work. I decided to disallow works like "O Death" from the O Brother, Where Art Thou? soundtrack, which was a traditional song and originally recorded in 1921. Also, sorry Notorious B.I.G. and Tupac, but remixes of unreleased album sessions don't count, either. But I had to allow this track which was recorded by Nirvana back in the 90's, but (and I'll refrain from putting an adjective here) Courtney Love finally released it this decade. A friend of mine put it best, saying that there was a significant contingent of people who thought Nirvana was not only mediocre, but was on its way out when Kurt committed suicide. He (and I) love that this track totally invalidates that, showing that he was still just getting started when it came to raw, blissful songwriting. "I will move away from here / you won't be afraid of fear / No thought was put in to this / I always knew it would come to this" *15. "How It Ends", by DeVotchKa (How It Ends, 2004)* Yes, I did hear this song on a Gears of War 2 commercial. No, I have never heard anything else by this band, except a few snippets from the iStore that I did not purchase. I can't tell you how a simple ballad involving a piano, a string quartet, and an accordion (no, iStore, I am not interested in more tracks that use an accordion!) can impress into me so much. The lofty, unlimited voice of Nick Urata leads me through a maze of effervescent lyrics that connect each verse to the next like old, overused tendons, and make me return to something elemental about my love for music. It is vintage theory applied to today, and it works very, very well. "There is no escape / from the slave catcher's songs / for all of the loved ones gone / forever's not so long" *14. "Beautiful Child", by Rufus Wainwright (Want One, 2003)* I picked up this album shortly after its release without knowing anything about the singer. I remember doing the same thing with Björk's Homogenic, and having roughly the same reaction: there's nothing like being entirely bowled over by an entire album, from start to finish. After listening to the royal melodies, encapsulated by a well-directed orchestra, and Rufus's birdsong voice, other people's music just seems so normal. I chose Beautiful Child, but really any track from Want One would be just as fitting for a spot in the teens. Find this album if you don't know it by heart. "And when they finally fall / these wailing walls / and burning crosses / God's twilight and all" *13. "Gold Digger", by Kanye West (Late Registration, 2005), featuring Jamie Foxx* I promise you, no one wants Kanye West to fail more than me (though I should probably check with Taylor Swift). His arrogant style, outspoken nature, and simply ridiculous life, are like a pox on the current industry. He's a joke. The rivalry with 50 Cent was a cheap stunt to sell records (that worked). I cannot, unfortunately, and I mean really unfortunately, deny that he is talented. This song was all over the radio for a reason. I can't stand the rest of the album, and I'd rather have Kid Rock calling himself a rock n' roll Jesus than listen to Kanye call himself the voice of our generation (of the decade). I hope he never opens his mouth ever again, but if he does, I want to know what he says. God, I hate myself for saying that. "If you ain't no punk holla 'We want prenup!' (WE WANT PRENUP!) / It's something that you need to have / 'Cause when she leave yo ass she gone leave with half / Eighteen years, eighteen years / and on her eighteenth birthday he found out it wasn't his" *12. "Wake Up", by The Arcade Fire (Funeral, 2004)* I doubt any artist this decade had such a mind-blasting, untouchable album as Funeral, and the fact that it was The Arcade Fire's first somehow makes it even more incomparable. It's a virginal, pure example of how a group of artists can quietly determine the slight, meek way to create supremely powerful music. The lyrics are disturbing and peaceful, a heartbeat that fills all of us with a little sadness, a little greatness, and a little life beyond the status quo. Although the entire album approaches hall of fame quality, "Wake Up" takes you to multiple destinations in its different movements, shoving you while guiding you. At it concludes, all I can do is sigh and ask for more, please. "If the children don't grow up / our bodies get bigger but our hearts get torn up / We're just a million little gods causin' rain storms turnin' every good thing to rust" *11. "The Luckiest", by Ben Folds (Rockin' the Suburbs, 2001)* The best original ballad of the decade was easy to spot, and does not come from a surprising source. Ben Folds' discs sit on the shelves at pop radio stations, content to know that he comes from infinitely stronger stock than anything else around him. Occasionally, he would throw alternative stations the humorous anthem of the summer: "Rockin' the Suburbs" and "Song for the Dumped", but "The Luckiest" was bestowed on us not for public consumption, but for quiet moments with those closest to you. It's a rock of honesty in a storm of otherwise nameless noise. I hope we are rewarded, like manna from heaven, with more glimpses of his full potential in the future. "I dont get many things right the first time / in fact, I am told that a lot / Now I know all the wrong turns, the stumbles and falls / brought me here"
Last Updated on Wednesday, 23 December 2009 16:16

Top 50 Songs of the Aughts (10-1)

Written by Dan Hermann
Monday, 07 December 2009 17:19
*10. "What Comes Around... / ...Goes Around", by Justin Timberlake (FutureSex / LoveSounds, 2006)* The last pure Pop song on this list, it's tough to elaborate on why I find this particular track so much better than the rest of the trash the invades the genre. Mainly, I look at Justin's ludicrous career, first with 'N Sync, a slight, a widely unknown "accident" next to Janet Jackson at Super Bowl XXXVIII, recording "Where Is The Love?" with some no-name band called The Black Eyed Peas, and then Justified, his puny, childish solo album in 2002. To first credit those things to your name and then put out FutureSex / Love Sounds... well, I have to give him credit for growth. Obviously, getting involved with Timbaland had to help quite a bit. Since the song's appeal, a thumping bass and drum track in contrast to Justin's excellent tenor voice, is self-evident (or totally incongruous with the rest of the list, depending on your taste) I'll also mention the breakdowns among the years. 2000, 2001, 2005, and 2009 all tied for the bottom with three songs each. 2004 and 2008 did slightly better with four; 2006 had six. 2002 and 2003 had back-to-back efforts of seven songs each, but (apparently) 2007 was the best year for music with a whopping ten songs on the list, led by M.I.A.'s Kala, Lupe Fiasco's The Cool, and Radiohead's In Rainbows. "Don't want to think about it / don't want to talk about it / I'm just so sick about it / can't believe it's ending this way / Just so confused about it / feeling the blues about it / I just can't do without you / Can you tell me is this fair?" *9. "Paper Planes", by M.I.A. (Kala, 2007)* I liked Kala when I put in my CD player the first time: it was regional, tight music with each track having its own personality and shortcomings. Maya Arulpragasam's voice flies high, and I felt like I really learned a lot about her and her travels throughout the album. "Paper Planes", however, made me stop and realize that she isn't good: she's fantastic, and somehow I was missing it, trying to listen to her album as a nice "World" disc. She's a little Hip-Hop, a little Electronica, a little Soul, and a lot of everything else. And I got to tell you, folks, there is nothing more satisfying for a music critic to say than this: GUY: "That trailer for Pineapple Express looked good. Seth Rogen is funny." ME: "Yeah." GUY: "I liked that song in the background, though. Never heard it before." ME: "Yeah, that's 'Paper Planes' by M.I.A. off Kala." GUY: "What?" ME: "I picked up that album about eight months ago." GUY: "Oh." "No one on the corner has swagger like us / Hit me on my Burner prepaid wireless / We pack and deliver like UPS trucks / Already going hell, just pumping that gas" *8. "No One Knows", by Queens of the Stone Age (Songs for the Deaf, 2002)* This song really provides a framework for how a hard alternative genre band can quickly and efficiently bust open the heads of everyone who listens to it. The high ting of the lead guitar, in contrast to Joshua Homme's rattling voice, really grab the listener and makes them want to break something. Of course, the inner strength of the song comes from the driving rhythms and skilled rumblings of the drum set. Some fellow named Dave Grohl. Have I heard that name somewhere before? "Heaven smiles above me / what a gift there below / but no one knows / A gift that you give to me / no one knows" *7. "Mad World", by Gary Jules (Trading Snakeoil for Wolftickets, 2001)* With all the covers put out by desperate, desperate people (see also: Mariah Carey's "I Want to Know What Love Is") and semi-honest songwriters (see also: Marié Digby's "Umbrella"), it's tough to know how they will turn out. Many movie directors want a particular song, but can't buy it because of the relationship between their studio and the label that owns it, so they'll commission a recognizable voice to come in and perform. It's a safe bet for the artist, too, because there really aren't a lot of memorable soundtrack albums (see also: The Coneheads), so if it sucks, nobody will ever find out. I don't know how Gary Jules got into doing a Tears for Fears cover for the Donnie Darko soundtrack, nor do I know if the song would be so fantastic if the movie wasn't also, but the resulting track is a haunting, poignant exploration of soft, rolling tones. On Trading Snakeoil for Wolftickets, he adds a full band, and the brushes across the snare drum make it far more than was ever conceived by the Roland Orzabal original. "Went to school and I was very nervous / no one knew me, no one knew me / Hello teacher tell me what's my lesson / look right through me, look right through me" *6. "Stan", by Eminem (The Marshall Mathers LP, 2000)* Has it really been ten years since The Marshall Mathers LP? What a decade. I remember when we first heard "My Name Is" last millennium; I had dismissed Eminem as a provocateur sponsored by Dr. Dre to spit in the eye of the mainstream industry. When someone said this album was really, really good, however, I picked it up on a whim. "Public Service Announcement 2000" and "Kill You" were the first two tracks, and exactly what I expected. I was about to turn it off, put it on eBay, and be done with yet another white rapper, but Dido's hook on the third track surprised me. As I tried to figure out where I had heard her voice before, Eminem began the best lyrical narrative... ever. The saddening tale of Stan makes everyone ever curious about stardom and its consequences stop, and listen to the power of the rhyme. The pounding rain in the background could have been cliché, but Dre used it perfectly in combination with the writing pencil noise. Unfortunately, this is definitely Eminem's best work, and even by the end of the album we'd find out he still wanted to piss people off ("Amityville" and "Kim"), and figured out how to piss more people off in future albums ("Drips", "First Track", "Medicine Ball") while occasionally finding his former greatness ("One Shot Two Shot", "Same Song and Dance"). "You know the song by Phil Collins, 'In the Air of the Night' / about that guy who coulda saved that other guy from drowning / but didn't, then Phil saw it all, then at a a show he found him? / That's kinda how this is, you coulda rescued me from drowning / now it's too late, I'm on a thousand downers now, I'm drowsy" *5. "Debra", by Beck (Midnite Vultures, 2000)* Beck, far and away, worked the hardest to be the best artist and performer of the decade and it's easy to see how well he succeeded. When we met Beck, he was so young: "Loser" was like your friend's weird little brother that never came out of his room when you were over but somehow knew about everything you had done all day if you stayed for dinner. Once over the initial shock of the gimmick in "Debra", and all the oddities throughout the whole of Midnite Vultures, you started to glimpse some of the truthful, elated power of Beck's style. His lineup of albums put out in the Aughts is without blemish: Midnite Vultures, Sea Change, Guero, The Information, and Modern Guilt are cross-sections of his kaleidoscope of style, each one unique but somehow also universally appealing. I'll admit, there are a few tracks (e.g. "1000BPM") where you can hear how transfixed he is with his music, but you doubt you'd ever say to yourself, "Man, I'd love to hear this song in the car." I will take another moment here to avail myself of the advice from a friend of mine who told me that Midnite Vultures technically was released on November 23, 1999. Thankfully, however, the NARAS has some kind of "fiscal year" that makes it part of 2000, and thus, makes it eligible. This is also the only contribution that organization has made to me, since I find their choices of who to reward at approximately the same level of credibility as the Nickelodeon Kids' Choice awards. "Because when our eyes did meet / girl, you know I was packing heat / Ain't no use in wasting no time / getting to know each other / you know the deal" *4. "99 Problems", by Jay-Z (The Black Album, 2003)* I can still remember the first time I heard this song: played on my local hard rock station that rarely plays anything outside Breaking Benjamin and Megadeth. From the very first guitar lick, I was interested. I had heard Jay-Z before, and I knew he was good, but I had no idea he was this good. Many rappers (and their producers) have yearned for a bigger audience, and tried to infuse hardcore rap with hip-hop in an effort to make it more accessible, but Jay-Z (notably self-produced) simply creates music that will appeal to anyone. The lyrics, minus some industry smack talk in the third verse, is subtle and dangerous, and celebrate an infectious hook as only Rockafeller Records can. "So I pull over to the side of the road, I heard / 'Son, do you know why I'm stoppin' you for?' / 'Cause I'm young, and I'm black, and my hat's real low? / Do I look like a mind reader, sir? I don't know / Am I under arrest or should I guess some mo'? / 'Well you was doing fifty-five in a fifty-four'" *3. "The Rising", by Bruce Springsteen (The Rising, 2002)* This song was the toughest to place, since it a simple illustration of Bruce Springsteen's musical style and abilities, so it can't go too high, but its meaning and message about the events of 9/11 make it impossible to put too low. The fact is that it’s the only song I've ever heard about the day that clearly represents the fear among us but also the resolve to honor those that fell and repair that which was wounded. I wouldn't think it possible for anyone to tell this story in a major key with a lead guitar, but I guess nobody really overestimated a person with a nickname of The Boss. Far opposed to the warhawk anthems about putting boots in asses, The Rising seems tranquil, taking you back to that day, but not to the dust and rubble: to a private dialogue with what each one of us learned about ourselves in the span of a few short hours on a cold Tuesday morning. "I see you Mary in the garden / in the garden of a thousand sighs / There's holy pictures of our children / dancin' in a sky filled with light" *2. "All These Things That I've Done", by The Killers (Hot Fuss, 2004)* I've never been wild about The Killers. They have great singles, and by "great" I mean "just mind-blowing". "Somebody Told Me", "Mr. Brightside", "Read My Mind", and "For Reasons Unknown" all have unique, invigorating aspects to them, and are produced very well. Their albums, however, remind me of Mr. Big luring you in with a catchy chorus only to try and prove they're still hardcore. They seem to fall apart at the edges, lackluster and mean-spirited, and they have yet to execute a ballad with any skill whatsoever. But as this list is only concerned with individual songs, "All These Things That I've Done" was an easy choice. The lyrics mean nothing at first and then become applicable one line at a time, and Brandon Flowers voice flows over the driving tracks with an authority and grace. The bridge, in particular, takes me back to Mick Jagger's songwriting prowess on Sticky Fingers. It's an excellent song. "I got soul, but I'm not a soldier" *1. "Clocks", by Coldplay (A Rush of Blood to the Head, 2002)* For as much effort as I put into making this list, there was never any doubt in my mind that "Clocks" would always be #1. Seth Rogen and Paul Rudd soliloquies aside, Coldplay put out, in my humble, humble opinion, the best album of the decade right at the beginning with A Rush of Blood to the Head. It's been puzzling to me how their follow-ups X & Y and Viva la Vida have been so off-base and weak, but that doesn't stop a small 2002 release from giving us the brainstopping, vibrant tones of a band that I had all but written off after the choppy "Yellow" off Parachutes. The lush sound of "Clocks" overflows the senses without overwhelming you, though I admit to being a sucker for driving, repetitious piano harmonies (see also: R.E.M.'s "Nightswimming"). It's a prism of musical theory, showing us what the Aughts were really all about: intelligence in the face of avarice, diligence in spite of slothfulness, and, most of all, a foundation of passion and commitment to those things we care about the most. "Singin', come out if things aren't said / shoot an apple off my head / And a trouble that can't be named / tigers waitin' to be tamed"
Last Updated on Tuesday, 08 December 2009 14:14

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Goal Tracking

9/29	194.6 lbs (+0.0)	24% (+0.0)	36 Strokes (+0.0)
10/6	193 lbs (-1.6)	22.8% (-1.2)	36 Strokes (+0.0)
10/13	191.8 lbs (-1.2)	22.7% (-0.1)	36 Strokes (+0.0)
10/20	192.8 lbs (+1.0)	22.6% (-0.1)	36 Strokes (+0.0)
10/27	192.8 lbs (+0.0)	21.7% (-0.9)	36 Strokes (+0.0)
11/3	190.8 lbs (-2.0)	22.2% (+0.5)	36 Strokes (+0.0)
11/10	190.8 lbs (+0.0)	21% (-1.2)	36 Strokes (+0.0)
11/17	190.6 lbs (-0.2)	20.4% (-0.6)	36 Strokes (+0.0)
11/24	190.2 lbs (-0.4)	21.7% (+1.3)	36 Strokes (+0.0)
12/1	191.2 lbs (+1.0)	21.1% (-0.6)	36 Strokes (+0.0)
12/8	190.6 lbs (-0.6)	21.7% (+0.6)	36 Strokes (+0.0)
12/15	190.6 lbs (+0.0)	21.5% (-0.2)	36 Strokes (+0.0)
12/22	189.8 lbs (-0.8)	21.3% (-0.2)	36 Strokes (+0.0)
12/29	188.6 lbs (-1.2)	21.6% (+0.3)	36 Strokes (+0.0)
1/5	188 lbs (-0.6)	22.5% (+0.9)	36 Strokes (+0.0)
1/12	190.8 lbs (+2.8)	20.7% (-1.8)	36 Strokes (+0.0)
1/19	188.8 lbs (-2.0)	22% (+1.3)	36 Strokes (+0.0)
1/26	190 lbs (+1.2)	22.3% (+0.3)	36 Strokes (+0.0)
2/2	190.6 lbs (+0.6)	21.5% (-0.8)	36 Strokes (+0.0)
2/9	191.6 lbs (+1.0)	21.4% (-0.1)	36 Strokes (+0.0)
4/13	185.8 lbs (-5.8)	21.5% (+0.1)	32 Strokes (-4.0)
4/21	186 lbs (+0.2)	20.4% (-1.1)	32 Strokes (+0.0)
4/28	188 lbs (+2.0)	20.5% (+0.1)	34 Strokes (+2.0)
5/5	187 lbs (-1.0)	19.7% (-0.8)	34 Strokes (+0.0)
5/12	186.6 lbs (-0.4)	20.5% (+0.8)	35 Strokes (+1.0)
5/19	186.5 lbs (-0.1)	20.5% (+0.0)	35 Strokes (+0.0)
5/26	185.6 lbs (-0.9)	19.7% (-0.8)	35 Strokes (+0.0)
7/14	183.8 lbs (-1.8)	20% (+0.3)	34 Strokes (-1.0)
8/15	183 lbs (-0.8)	16.8% (-3.2)	24 Strokes (-10.0)

By 11/4	180 lbs	15%	21 Strokes

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Welcome to Dan Hermann's website

Goal Tracking

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