My Top 40 workout tunes "Running Edition"

I run 4 times a week. I cover about 3-4 miles in roughly 30-35 minutes. I've gone on record --#IHateRunnning--- but I can't argue with the results. It's a nice run (as runs go) through the woods about 1/3rd of a mile from my house. I couldn't possibly do it without music. I just am incapable of "zenning" out and enjoy the runner's high. I need a distraction from the fact that #IHateRunning. Now depending on my mood, I will listen to a particular artist or style. Sometimes it is an album's worth of metal like the Black Noodle Project or sometimes it's Rush 2112 or The Ramones, or like yesterday, it was actually Pink Floyd's "Wish You Were Here." Sometimes it's just a collection of bits and pieces.

https://www.youtube.com/watch?v=NYzt1rEBx5Y

Now the thing with stating my favorite workout song...or songs I like to run to, is that it's totally and completely subjective. Take someone like my brother Darren. His workouts at his gym contain a great deal music that for which I really don't like. He will, and does, say the same of my taste. We use colorful language to describe each other's taste that I will leave out this blog! But, with workout music, there is no wrong answer---whatever gets you through the pain, right? Okay there is simply no good reason that Celine Dion's, My Heart Will Go On should ever be on anyone's workout mix (sorry, brother!).

So I have listed 40 songs that make it onto my playlist rotation. The one thing they have in common is they all are between 125-185 beats per minute so I can manage (huffing, puffing and cursing) a 8:59 mile (it's a personal sense of satisfaction when I can run a sub 9 minute mile at my age and general running disposition--btw, did I mention #IHateRunning). On a typical run, I can get in about 8-10 songs per run...unless I am listening to Transatlantic's "Duel with the Devil" (clocking in at a shade more than 26 minutes) or the 23-minute live version of Renaissance's "Ashes are Burning" complete with the cool 4 minute bass solo by Jon Camp).

The other thing they have in common is that I generally know all the words to these songs so, I can mouth along and distract my brain from the fact that I have only another 26 minutes and 13 seconds...12 seconds...11 seconds, left!

Some might not be great songs, but I like all of them. Some are not even close to my favorite song by that artist, but fit the mood. Some are odd choices, but variety is the spice of interminable workouts! Some are instantly recognizable, some less so. Some might not be remotely be what you would run or workout to, but as John Lennon and Elton John once sang...whatever gets you through the night, it's all right, it's all right.

So without further...and in no particular order (like shuffle on the playlist), here are Top 40 songs to run to (and their accompanying beats per minute, should you care). I originally planned for this list to name 25 tunes, but it quickly ballooned to 50. It was tough, I said, "self, what about this tune...oh and that ...and how can you leave off that." I finally pared it down to 40. So sorry for the lengthy list...but I hope you enjoy it. Maybe find a song or four that you might add to your playlist:

• The Middle: Jimmy Eats World (162)

• Slow Down: The Beatles (169)

• This Old House: Brian Setzer (203bpm)

• You Run: The Call (158),

• Cruel to be Kind: Nick Lowe (131bpm)

• Don't Stop Me Now: Queen (156)

• Love is Stronger than Justice: Sting (166)

• Steve McQueen: Sheryl Crow (170)

• Let Me Entertain You: Robbie Williams (125)

• Walking in LA: Missing Persons (139)

• (What's so Funny 'bout) Peace Love and Understanding: Elvis Costello (142)

• The Valley: General Mojos (135)

• Synchronicity II: The Police (159)

• Every Day I Love You Less and Less: Kaiser Chiefs (160)

• Mr Blue Sky: Electric Light Orchestra (178)

• Rockin' The Paradise: Styx (149)

• Amanda B: Sherwood/Nesmith (135)

• Feelin' Stronger Every Day: Chicago (158)

• Life During Wartime: Talking Heads (133)

• Hey Julie: Fountains of Wayne (137)

• Losers Day Parade: Kino (160)

• Bodies: Sex Pistols (158)

• Dog Days are Over: Florence + the Machine (150)

• Crazy=Genius: Panic! at the Disco (134)

• Things She Said: Toy Matinee (145)

• I Wanna Be Sedated: Ramones (163)

• Roam: B52s (136)

• American Girls; Triumph (142)

• It Must be Love: Madness (146)

• Vacation: GoGos (157)

• Transmitter: Spiraling (155)

• White Punks on Dope (133)

• (Is This the Way To) Amarillo: Tony Christie (135)

• Let My Love Open the Door: Pete Townsend (165)

• Ain't Talkin' About Love: Van Halen (137)

• Drunken Lullabies: Flogging Molly (157)

• Grey Seal: Elton John (136)

• Feet Don't Fail Me Now (125)

• War Dance: XTC (132)

• And a Bang on the Ear: The Waterboys (181)

.And just for the record, I wrote this blog while it was 97 degrees outside. I'll be damned if I am running today #IReallyHateHotRunning.

Make suggestions of what I should add to the list! And sorry brother, I can't foresee Demi Lovato's Échame La Culpa, Debbie Gibson's Electric Dreams or Kenny and Dolly's Islands in the Stream ever making my list. But really, feel free.

WHAT I AM LISTENING TO THIS WEEK:

Perfect Beings Perfect Beings (US) 2014- I am so pissed. I haven't listened to this album from start to finish in about a year and a half---what an idiot. This album should have always been on my high rotation list. It perfectly melds the most accessible portions of Yes, Genesis, Pink Floyd, XTC and a few others. But just imagine late Collins/Hackett-era Genesis backed by Steve Howe, Chris Squire's bass and some weird mix of Tony Kaye and Richard Wright on keys, but playing Going for One era Yes. It definitely wears its influences on its sleeve, but puts a very modern (non-derivative) spin on their material. Progressive without the pretension. Complex without being inaccessible. I was flummoxed and flabbergasted at myself for giving it a modest thumbs up the last pass through. It has practically everything I need from an album down to tongue wagging steel pedal guitar to mellotron to a true liquid bass sound to solid Hammond organ and piano standouts and fabulous vocals (Ryan Hurtgen)...even the empty spaces in a song like Walkabout that tend to be more ambient have form and function and don't seem as empty. This is really the brainchild of Johannes Lumely, who came out of another band of whom I think extraordinarily high, Moth Vellum--they only lasted one album, but it too, is great. I was disappointed when they never made a second album, but derived the benefit from two groups-- Perfect Beings and the Moth's drummer/singer's new outfit Mancunian Candidate. The difference here is Moth really wore the progressive label on its sleeve, but Perfect Beings are less bombastic and more textural. The first part of the album sounds more in the Steve Hackett style of lyrical guitar sounds (Canyon Hill, Bees and Wasps) , but a song like Removal of the Identity chip is simply the greatest song Steve Howe never played on but sounds as if he did. It uses Yes' Awaken as a template, but makes it more accessible. It's an odd amalgam of familiar elements, that, together, transcend every attempt to say that's derivative. There are no hippy dippy songs about elves and the longest song clocks in at about 9 minutes (that's about 1 minute longer than Stairway to Heaven for all you classic rock fans). It's far from a perfect album, but I love falling in love all over again and can forgive it some minor faults.

https://perfectbeingsband.bandcamp.com/album/perfect-beings

Neal Morse Sola Scriptura (US) 2007 - Musically, this album checks all the boxes. Great melodies interesting solos, quirky interludes, multiple tempos, anthemic crescendos, contrasting musical styles and intricate angles. Where the album eventually falls short is the over-reliance on so-called epic-length songs. 4 songs over 76 minutes (2 of the songs run 54 minutes). 3 of the 4 are musically dense and sometimes exhausting suites which are of put-on-the-good-headphones-and-listen variety. Now none of this should not be a deal breaker for me, but he is also heavily dependent on religious lyrics that turn some superb musical ideas into nails on a chalkboard. Again, shouldn't be a deal breaker, because spiritual lyrics are often times the most interesting and philosophical. However these lyrics are a bit too evangelical and proselytize-y. Sometimes, if you try and listen to Morse's voice as an additional instrument, it works fine. Morse went from the front man in Spock's Beard and recording 2 of my all time Top 20 albums (a few more in the top 100) to a preachy songwriter. This has been debated and debated in my little progressive rock circles, but for me, it isn't the overt Christianity of the record, but the lack of creativity in weaving his philosophy into the songs without hitting you over the head: Jesus will walk me through the dark/'Cause if I die with him I will rise again/With heaven in my heart. He sings what he feels and inspires him, and that's great...for him. If you didn't know, the main songwriters of the band Kansas (Carry On My Wayward Son) were evangelicals, but lyrically they crafted songs that were much harder to discern were overtly religious (except for maybe Hopelessly Human, Closet Chronicles and He Knew...kinda obvious guys). Now, let's take a step back. This is a concept album about the life of Martin Luther, so I offer a bit more leeway with regard to religious lyrical content. It's about a historical icon's life. FYI--Sola Scriptura is the doctrine that states the Bible is the supreme authority in all matters (and one of Luther's primary theses). The music within features so many great hooks, harmonies and excellent musicianship. However, it could easily be edited down to 50-55 minutes. There's another blog inside me that we will discuss "epics" don't need to be 25 minutes long, and writing epics for the sake of writing epics doesn't produce a masterpiece. Let's take another step back. The good on this album is great. As mentioned there is a decent amount of filler, but sonically Morse uses a Beatles phraseology in creating his music...and it is immensely listenable and interesting. He travails a good amount of styles and tempos--metal, Beatles-styled AOR, flamenco, jazz, symphonic and each of the four songs has a distinct flavor. Many say it is his best solo album, I personally don't--(Question Mark from 2005 is my favorite followed by his eponymous singer-songwriter styled album from 1999). BUT it is so worth a listen if you want to hear an excellent example of a modern rock symphony of the new millennia.

https://www.youtube.com/watch?v=1JZm5rRfEhQ

Bob Dylan Blonde on Blonde (US) 1966 - There are at least 3 Bob Dylans. The early folk hero who took existing material and twisted into his own generation-changing voice. The second is the electrified Dylan who built on the first Dylan and became the touchstone for practically every rock musician to follow, and lastly the fading legend Dylan which includes forays into Christian music and country. Blonde on Blonde is firmly set in the second phase and lives up to its reputation as an all time classic..and is a double album to boot. Backed by The Hawks (who were essentially The Band) and many others (including Al Kooper), this album offers up a more bluesy/roots feeling that reinforced with his association with The Band nee Hawks. The songs are modern and lyrically colloquial poetic. This album has been reviewed a million times, and its poetic lyrics analyzed by PhDs, and I can't add much to that other than to say it deserves every accolade. Is it my favorite album? Not quite--maybe not even in my top 40 , but that's a me problem. This is simply a beautiful album. This album features the hits Rainy Day Women #12 and 35, Just Like a Woman, and Visions of Johanna, but the standout track, and my favorite Dylan tune of all-time is the hymn-like Sad Eyed Lady of the Lowlands. I read a review that stated it is some of the most pretentious lyrics Dylan ever penned. It figures this is the one I like best. The said sad lady is rumored to be his wife Sara Lownds, others say she is an fictitious ethereal dreamlike character that serves as the central focus which to ask unanswered questions. Dylan is a bit opaque on the subject. Either way, I find the song, which is a simple waltz, hypnotic and even a bit haunting. And do you find it odd that I am writing this review with Metallica's "Kill 'Em All" growling in the background (which should it come up in conversation is not among my preferred Metallica albums, but I get why it is groundbreaking).

https://vimeo.com/163924814

Dream Theater Metropolis Pt 2: Scenes from a Memory (US) 1999 - I stated in a blog 2 weeks ago, that Dream Theater is a band I should like, but for a variety of reasons, they don't connect with me. I decided to put that concept to the test this week by giving the album I thought I liked best a shot at convincing me they deserve a wider listen. In several polls, this album gets very high praise--ranking it with some stellar output like The Who's Tommy or Genesis, Lamb Lies Down on Broadway. Well. let's see about that. First off, this is a concept album (and the first to feature the excellent keyboardist Jordan Rudess) about a man discovering his past life, which involves love, murder and infidelity. Right off, that reminded me of the movie I really liked back in the early 90s, Dead Again with Kenneth Branagh and Emma Thompson. But let's put the story aside for now an concentrate on the music. One thing noticeable is the dialing back on the metal and wankery aspects (although it's still plentiful enough for those who like it). For that, it makes this album, for my ears, more listenable. It starts off in a very familiar Pink Floyd The Wall Style acoustic guitar tune, but then moves into that chug-chug-chug chord progression found in every stereotypical metal album. Now I am not a fan of John Petrucci's guitar playing although he has some cool Alex Lifeson-inspired (Rush) cool moments. Where the album shines is when they give Rudess room to spread out--sometimes not thrilled with his choice of keyboard tones, but he is so talented. The drums are the most distracting aspect of this album. In trying so hard to out-Peart Rush's Neal Peart, Mike Portnoy (who is great in his other band Transatlantic) overwhelms too much of the album. We get it, you're fast and precise. Without devolving into a song-by-song nit-pick, I will say the album has some very good moments. Scene Four: Beyond this life is the most interesting on the album--it offers a very coherent piece that moves between aggression and melodic; and even a bit a Zappa-influenced weirdness. Overall, the disc presents us interesting peaks and valleys and not every song sounds like the one that preceded it. I just wish there was less wankery that shows how fast you can play as opposed to how well you can complement the melody or stretch it to new places. It is definitely overrated in progressive rock circles, but still has effective moments like the Indian sitar section of Home and then leans into a cool melding of metal and India-infusion.Or the capper, Spirit Carries On--its anthemic melody proves they don't have to overwhelm you with speed and volume. Also many people point to Dance of Eternity as a great instrumental. I personally find it cluttered and exhausting (gratuitous solo time). So in the end, it is what I thought it was. Probably Dream Theater's best output, but just not good enough to keep me coming back again and again.

https://www.youtube.com/watch?v=oYbLuehw_ms

These Curious Thoughts Xrays of the Imagination (UK/US) 2017 - This is a band that you have to look for as they are kind of hard to find. Honestly I can't remember where I first came across them. They are two guys on two continents writing a pleasant variety of art rock that's hard to classify. Sort of XTC, REM, early Sparks with a dash of Flaming Lips, Talking Heads and Death Cab for Cutie. There are so many textures, quirks and nice harmonies. This is not one of those albums you go into to find virtuoso playing, rather there is some flavorful song writing and some interesting mesmerizing vibes throughout. This is pure art rock done in an alt/indie framework. I read somewhere, that it reminded another reviewer that it's like an evil Ben Folds. I don't see that, but I could get behind an edgy Moody Blues. I don't get an "evil" vibe even though the lyrics have a bit of a disaffected or angry...ish? bend to them. I think When Heroes Die followed by the title track might be my favorite cuts on the album. Both have that quirky folk meets psych feel: "I feel like Tarzan swinging from a tree while the jungle burns." This is one of those bands that put a healthy helping of their output on YouTube...in varying degrees of interesting versus works in progress.

https://www.youtube.com/watch?v=2Uza486YjvU&list=PL7SGVMgdvkzFev08irGJuxEcoA_BTGReo