We've reached day five of the 30-Day Song Challenge that is making the rounds on the socially-distant interwebs.
Day 5: A song that needs to be played loud.
Doesn't any good song -- I mean, really good song -- need some volume?
You know, like the amplifiers in This Is Spinal Tap: "These go to 11."
But I do suppose there are songs that have me looking for volumes that can't be achieved. There's a running gag about "Revolution" by the Beatles (Not "Revolution 1" and sure as hell not "Revolution 9"). If there's a dolt flapping their gums nearby, just let the guitars on "Revolution" drown them out. Works every time.
Certainly "Enter Sandman" does the job as well, and I'll be totally transparent and admit that it became a song to play even louder after it became the theme of one Billy Wag...nah, Mariano Rivera.
There are honestly just too many in this category, but I have to give you something.
For some reason, while thinking about this one tonight, I found myself reaching for Billy Joel. Now, not just any Billy Joel, though I will tell you there are many of his songs that work the volume knob ("You May Be Right" and "Scenes From an Italian Restaurant" both qualify) but "Miami 2017" is the winner.
And, yet, not the studio version. Oh, no. It has to be the magnificence of the one on Songs in the Attic.
From the whir of the siren as Joel's science fiction ode begins to the roar of the no doubt heavily stoned Madison Square Garden crowd in June of 1980, the song gives me need to be alone. Preferably in the car on an open road with a sound system that will not be good for the health of my ears.
The pace and beat are faster than the studio version, powered by the beat of Liberty DeVitto (please, Billy, would you guys make up?).
We won't get into whether or not Staten Island is not acknowledged, though I still say "island bridges" qualifies.
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