Origin Stories Mix Part 1

Origin Stories Playlist



1). Man in Black — Johnny Cash
Johnny Cash is perhaps the most badass artist in music history, what with his performances in prisons, songs about murder and drug use and most of all his predilection for dressing entirely in black. “Man in Black” reveals that he has a nobler motive for wearing black than looking cool. Cash wears black to be a walking symbol for the disenfranchised, the “poor and beaten down” and those who died “believin’ that the Lord was on their side.” “Man in Black” is an example of an artist revealing important aspects of his mythology through song. It’s an artistic mission statement for Cash. Cash will always stand up for the underdog and remind the haves about the misfortunes of the have-nots


2). My Back Pages — Bob Dylan
Before we start: yes, I know the Byrds version is better, but considering the theme of this mix, the song is more powerful coming from the man himself. Few musicians have as effortlessly reinvented themselves as Robert Zimmerman. “My Back Pages” is the birth of the second incarnation of Bob Dylan, the version who turned away from protest songs and acoustic instruments and turned to personal topics and introspection. In the early 60s, Dylan was the voice of the rebellious younger generation, a hat that Dylan was willing to wear for a time, but “My Back Pages” shows that the righteous anger and moralism that fueled his protest period was fading (“’Rip down all I hate,’ I screamed/lies that life is black and white spoke from my skull, I dreamed/romantic facts of musketeers foundationed deep somehow”). The oft-repeated line “but I was so much older then, I’m younger than that now,” betrays the possibility that being the voice of a generation exerted too much pressure on young Dylan and that he needed time to discover his true self, to be young, before claiming to speak for millions. So with this song, he cryptically announces his intention to split from the Greenwich Village protest folk scene and develop his own musical world.


3). Tenth Avenue Freeze-Out — Bruce Springsteen
A simple and to the point rocker. This song’s wistful and celebratory story about Bad Scooter (a transparent reference to the Boss—look at the initials) and the Big Man (obviously Clarence Clemons) teaming up to “bust this city in half” is a creation myth about the formation of the E Street Band. Apparently, Tenth Avenue intersected E Street. Bruce has been closing out his recent shows with this song, in honor of the dearly departed Clemons, giving the hopeful beginnings expressed in the song some sad context.


4). They Might Be Giants – They Might Be Giants
John Flansburgh admits that the band was aiming for a “Hey Hey, We’re the Monkees”-type theme song for the band on this one. Interestingly enough, the band’s theme song appears as the second-to-last track on the band’s third album. “They Might Be Giants” is a goofy, playful song with unconventional instrumentation, quirky lyrics and a catchy hook, which in a way does capture the ethos of the band’s oeuvre. “They Might Be Giants” provides a raison d’etre for the band’s existence: “we can’t be silent cause they might be giants and what are we gonna do unless they are?” It’s an unnatural amount of fun to sing along with the deep-voiced “BOY” in the chorus.


5). Clash City Rockers — The Clash

Like “They Might Be Giants,” “Clash City Rockers” is a mission statement for the band, as well as a superhero origin story. England’s working class needs a “little jump of electrical shockers,” so luckily here come the Clash to energize and mobilize the populace, giving them a purpose so they are not knocked out “sooner or later.” Joe Strummer sneers “I wanna move the town to the Clash City Rockers” and “burn down the suburbs with half-closed eyes” over Mick Jones’ “I Can’t Explain”-on-steroids guitar riff and The Clash have arrived. England was never the same.


6). Formed A Band — Art Brut

FORMED A BAND, WE FORMED A BAND! LOOK AT US WE FORMED A BAND! Eddie Argos’ lyrics demand to be typed in all caps. Argos pledges to be the band that writes the song “that makes Israel and Palestine get along,” and a song as “universal as happy birthday” that they’re gonna play “eight weeks in a row on Top of the Pops.” “Formed a Band” works as both an origin song and a parody of origin songs like “Clash City Rockers” or “We’re an American Band.”


7). History Lesson, Part 2 — Minutemen

Here’s the song that inspired this playlist, a true origin story, which traces the band’s progress from playing in San Pedro through learning the art of punk rock from Joe Strummer, Richard Hell and John Doe to drinking and pogoing in Hollywood. All with D. Boon and Mike Watt playing the guitar. The genius of the song lies in its matter-of-fact nature. Their band really could be your life. All you need to do is find a good friend to hang out and make music with and don’t stop ‘til one of you dies. RIP D. Boon.


8). I Was Born a Unicorn — The UnicornsMixing the absurdist “Hey Hey We’re the Monkees”-vibe of “They Might Be Giants” with the “we’re normal guys” spirit of “History Lesson Part 2,” “I Was Born a Unicorn” is an energetic introduction to a weird-ass band. The Unicorns take their band name seriously, with references to Noah’s Ark and neighing sound effects. “I Was Born a Unicorn” is a perfect concert opener (or closer), with the triumphant final verse: “We’re The Unicorns!/We’re more than horses!/We’re the Unicorns and we’re people too!” I’ll take your word for it you crazy motherfuckers.


9). Born on the Bayou — Creedence Clearwater RevivalJohn Cameron Fogerty was born in Berkley, California. In case you don’t know your geography, that’s pretty fuckin’ far from the Bayou. But damn if he doesn’t make you believe he sprung from backwater Louisiana, chasing down hoodoos, whatever they are, every morning before wrestling some gators. Fogerty was inspired by Howlin’ Wolf and Muddy Waters to create a swampy aesthetic that has been imitated, but never quite been replicated. Fogerty says that “Born on the Bayou” is about a “mythical childhood and a heat-filled time” set in a place that he never lived, but a place with an essence that Fogerty would embody during his time as the brains and voice behind CCR.