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bobbystompy · 4 years

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My Top 75 Songs Of 2019

Previously: 2018, 2017, 2016, 2015, 2014, 2013, 2012, 2011

First time going below 100 songs since 2015, and I cannot wait. Giving this extra juice already.

As always, criteria and info:

This is a list of what I personally like, not ones I’m saying are the “best” from the year; more subjective than objective

No artist is featured more than once

If it comes down to choosing between two songs, I try to give more weight to a single or featured track

Each song on the list is linked in the title if you wanna check them out for yourself; there is also a Spotify playlist at the bottom that includes the majority of the songs

This is usually the part where I put up a pump up video, but we are going with something a little different this year.

youtube

(It was stuck my head. Blame Blink-155.)

75) YG - “In The Dark”

The video begins with YG chugging a full tequila bottle -- sure. This song is very bad. It’s like he’s in a competition to make the verse lyrics worse than the chorus lyrics (spoiler alert: the verses “win”); not even satanic imagery can save this.

74) Solange - “Stay Flo”

Here’s a weird take: wouldn’t Solange’s career be way more fun if everyone slept on her? Instead, it’s hype on hype -- plus being Beyoncé’s sister -- which makes it nearly impossible to deliver. This has a fun beat/vibe but is kinda boring... and was still easily my favorite off her album.

73) Art Alexakis - “The Hot Water Test”

My doctors told me that I had a disease / I will slowly fall apart until there’s nothing left that looks like me

This song makes the stakes clear immediately. It was released a few months after I saw Art play in June 2019 on my birthday. At the intimate show, he revealed his multiple sclerosis diagnosis as if we were all his closest friends. Something like this is never easy to deal with -- a similar announcement by the Lucky Boys Confusion singer did not help matters -- but music can help such a painful situation, and it’s clearly Alexakis’ exile here.

72) The Cranberries - “In The End”

A very suitable sendoff for the band following the passing of singer Dolores O’Riordan. The recording story (via NPR):

O'Riordan died suddenly in January 2018 at 46 years old and left behind the vocal tracks to what was intended to be the band's latest album. Now, O'Riordan's bandmates have decided to complete that album, In The End — the last album the band will release — in her memory.

[...]

In June 2017, O'Riordan and Hogan started emailing album ideas and demos back and forth to each other. O'Riordan had been very open about her struggles with mental health and addiction, which would affect the band at times, but they wanted to make a new album. Hogan says that when they were emailing those demos, she was in a good place. They started laying down her demos.

"All of that was kind of behind her," Hogan says. "She's kind of found a way to cope with the mental health thing. That's why she wanted to write so much. That's what she kept saying, 'I have so much to say, I just need the music to put it to.' "

Hogan says O'Riordan's apparent stability is what made her death even more tragic and devastating. (Officials ruled O'Riordan's cause of death to be accidental drowning due to alcohol intoxication.) But after a period of mourning, the remaining band members remembered they still had O'Riordan's demos. As Hogan remembers, they finally had the courage to start listening to them again in late February and, with her family's permission, started recording in April. "We spoke to her family and said, 'Look, how do you feel about us finishing the album?' And they were really supportive," Lawler says. "They were delighted, actually. They gave us their blessing."

Hogan says, in a sense, they were used to O'Riordan not being in the studio when they recorded — "Dolores hated hanging around the studio once we worked on our parts" — but, of course, this time was different.

71) Raleigh Ritchie - “Time In A Tree”

Exercise time. Play the first minute or so of this song without looking at any YouTube visuals.

/waits for you

OK, who are you picturing singing this? Got your image?

Well, whatever it was, you’re wrong -- it’s GREY WORM HIMSELF.

This was the best thing about “Game of Thrones” in 2019, sadly.

70) Culture Abuse - “Goo”

Simple, effective, gets out before you can dislike much.

69) Lil Pump f/ Lil Wayne - “Be Like Me”

Sometimes, a song starts, and you can just tell it’s going to be ignorant. Even before the vocals kick in. This was probably our moment here:

Between that and the beat, it’s like the only thing you can think is “Ohhhh, he’s about to say some horrible things about women.”

Other choice lines:

- “Yes, I’m hella ignorant, I don’t give a fuck” (he even says it in the song)

- “I take drugs like it’s Vitamin C / I’m a millionaire, but I don’t know how to read”

This song almost feels like it existed already.

68) The Get Up Kids - “Satellite”

Finally, our first rock song with some punch. This probably takes the crown from both DMB and P.O.D.

67) Bad Religion - “My Sanity”

BR is historically my favorite band, so it is rather deflating to see them so far back on this list. That said, it is Year 40 (!!!) of their existence, so some can be forgiven. Yet... we’ve never needed them more, you know? It’s this weird mixture of resentment but understanding.

66) Billy Liar - “The Righteous & The Rats”

Gonna see him (them?) open for The Bombpops in March; looks quite promising. Has an old school Brit punk feel.

65) Beach Slang - “AAA”

Beach Slang never lets you forget they love -- no, like, LOVE -- The Replacements. When this cover dropped, I googled “replacements AAA”, and, surprisingly, nothing came up.

Ohhh, what I fool I was. After more digging, I discovered a band called Grandpaboy who performed “AAA”.

“Oh, damn -- he finally went outside the box with this pick.”

No. Grandpaboy is fronted by Paul Westerberg. Singer of, you guessed it, The Replacements.

James Alex wears his heart on his sleeve so hard, he might as well give the heart a little jacket so his heart can wear its own heart on its sleeve.

HE DID THAT TOO?!

You can’t even make jokes about this band; they live in the jokes with their damn earnestness.

64) Gesaffelstein & The Weeknd - “Lost In The Fire”

Even lesser known Weeknd-involved tracks sound like they could lead a soundtrack or close out a festival. Are you familiar with this one at all? It has 87 million views on YouTube. Abel is never not not playing.

63) FIDLAR - “By Myself”

Started from the bottom and I’m still at the bottom

Falling apart never felt so carefree and burdenless.

62) Constant Elevation - “Fuck Runnin”

As hardcore punk as this list is gonna get. All glory to Vinnie Caruana. Though none of his solo tracks from 2019 made it, this has an undeniable energy and confidence. Plus probably the best song title of the year.

61) Maren Morris f/ Brandi Carlile - “Common”

A focused duet that drills into relationship dynamics before throwing a personal theology wrench in the middle of the chorus.

60) Anti-Flag - “Christian Nationalist”

AF going in on the white, religious right. This is like throwing a 50 mph pitch to -- /looks up good baseball players -- Pete Alonso.

59) Cokie The Clown - “Punk Rock Saved My Life”

This is less of a song and more of a confessional essay, and it gets harder and harder to look away with every revealing detail. If NOFX’s Fat Mike needed this character as a vehicle to get all of these autobiographical details off his chest, hopefully it’s a helpful therapy.

58) White Reaper - “Might Be Right”

“Judy French” is such an untoppable song, but “Might Be Right” has a similar dynamic.

57) Denzel Curry - “RICKY”

Denzel Curry as a rap moniker is such a slam dunk.

/looks up actual name

!!!

56) Ariana Grande - “break up with your girlfriend, i’m bored”

It takes a special kind of hot girl twisted to issue this unflinching request while totally pulling it off.

55) Goody Grace f/ blink-182 - “Scumbag”

Not sure if Goody is a Soundcloud rapper, punk rocker, or some kinda emo hybrid of both.

A few asides:

- Have we ever -- ever -- heard Travis Barker this subdued on drums?

- On the Blink-155 podcast, Goody said he gave Tom from the Plain White T’s a songwriting credit because he unintentionally lifted some melodies from “Hey There Delilah”, but... I really don’t hear it at all; like, it sounds maybe in the same key but not much else?

54) Jonas Brothers - “Sucker”

Despite their popularity in the past, I do not think I could name a single JoBros song. That changed in 2019 with this poppy, light, clappy, Maroon 5-style single.

53) Goo Goo Dolls - “Money, Fame & Fortune”

Someone -- coulda sworn it was Brendan Kelly -- said this was Goo Goo Dolls sounding like Fake Problems, and that is spot on.

52) AJJ - “A Poem”

A poem is song that no one cares about

This short, folky tune led to one of my favorite Twitter exchanges of the year, when I reached out to a music journalist with a question and AJJ came flying off the top rope.

51) DaBaby - “Suge”

This song is fun, but I really don’t get it. Beat is cool, flow is fine... this is the new face of hip-hop? His name is DaBaby! What are we doing here?!

50) Laura Stevenson - “Jesus, Etc.”

Taking a classic and doing it full justice/adding some harmonies.

49) blink-182 - “Not Another Christmas Song”

Blink’s 2019 album “Nine” was very, very bad because it tried too hard and was not good. This song, released later in the year, takes an opposite approach and actually works. We get lyrics that are discontent, even clumsy at times -- the “I miss fucking in the rain” line is so out of place/cringe-y but actually feels real and not workshopped by 10 producers. The trio can hopefully use this better b-side to figure out the best songwriting should flow out of you without having to go through multiple stations on a conveyor belt first.

48) Dave Hause - “Eye Aye I”

This song has a lot I love (catchy chorus, wistful thoughts, hairline analyses) and a lot I don’t (genuine use of the word “old bores”, Van Halen getting respect), but one thing is clear: Dave Hause is in complete control.

47) Beck - “Up All Night”

I’ve casually followed Beck’s entire career and would not have guessed this was him if given 100 chances. As an exercise, I’m going to pull up the 2020 Coachella lineup and randomly point to an artist.

/pulls up lineup and points

I got Daniel Caesar. If you told me this was Daniel Caesar, that would probably make more sense here.

46) Shawn Mendes - “If I Can’t Have You”

Randomly came into Shawn Mendes tickets in 2019, and good gracious, that was something. Other than parents, we were the oldest people there by a lot. Getting to watch thousands of teens and preteens legitimately having the best moment of their lives was downright inspiring. When you’re that young, it’s not even hyperbole. Phones were flagrantly out; I’m talking 20+ minutes of straight video being filmed. I wanted to judge so badly, but if you gave me an iPhone at my first concert when I was 14, who the hell knows how egregious my behavior would’ve been. As fun as the whole experience was, I never wanted to be in a grimy punk club more. Sometimes, leaving your comfort zone makes you appreciate your home base more.

This is a rock solid pop song, but there are way too many you/you rhymes to not penalize it some.

45) Big Thief - “Cattails”

The whitest song you will ever hear that isn’t written by Vampire Weekend.

44) Bayside - “Prayers”

Bayside went super metal with their 2019 release “Interrobang” (such a sick name). So yes, the guitars are a touch harder than you might be used to, but the chorus soars; a great hook transcends genre.

43) Naughty Boy & Mike Posner - “Live Before I Die”

Few had as interesting of a year as Mike Posner. Following a breakup, the death of his father, and the death of Avicii, he decided to walk across the United States of America. He legit became Forrest Gump, right down to the beard and grown out hair.

In the video, you can see how a snakebite hospitalized him and almost derailed the whole trek. After a rehabilitation period where he almost lost his leg, our man finally makes it to the Pacific Ocean. If nothing else, watch for the ending -- it’s exhilarating.

42) Post Malone - “Wow.”

Post is flexing in this one; we’ve got slow motion jamming with the Red Hot Chili Peppers, international flights, a dancing beard guy, and a Fall Out Boy name check which really makes them sound cooler than they are now.

41) Bryce Vine f/ YG - “La La Land”

Sometimes, these summertime Cali songs write themselves. That is until YG comes in and flips over the board before you can finish the game. By the time the Coachella reference is dropped when Bryce comes back in, you realize 1:47 may have actually been a better endpoint for the song than its 2:47 length.

40) David Rokos - “Backseat Drives”

It’s winter in Chicago, again and until forever. If you haven’t been to the Jewel in the South Loop or Marshall Field’s before they changed it, just listen to this so you don’t actually have to.

39) Simple Creatures - “Drug”

Mark Hoppus and the dude from All Time Low give us this synth-pop bop that feels like the duo shooting their shot at a real mainstream pop hits. It didn’t quite get there, but they should feel OK about where it landed.

38) Chris Cresswell - “To The Wind”

My interest in The Flatliners ramped up considerably in 2019, as their near decade old record “Cavalcade” got plenty of spins (peep “Filthy Habits”; just stunningly incredible punk). Though they did not release anything this year, their singer put out “To The Wind”, a longing song about missing someone.

37) Kesha f/ Big Freedia - “Raising Hell”

Kesha, with the help of New Orleans’ Big Freedia, gives us another one. I’ve personally dug Kesha for a while now, but when is it time for us as a society to put her into the all-time conversation for pop artists? She has at least, like, seven HOF certifiable bangers. Plus she kills a guy in this music video.

In conclusion, I think this could translate to a country song very easily.

36) No Lenox - “Marquee”

Illinois/Japan’s No Lenox are back with Reuben Baird on the mixer and legendary masterer Collin Jordan (of The Boiler Room) on the, well, master, and the fullness in sound leads to the assault that is the “I saw your name on the marquee / Your friends were milling around outside” part. They only play it once, but I really could’ve gone for closer to five.

35) Red City Radio - “Love A Liar”

Rapid fire Red City Radio gets this one done in exactly 120 seconds.

34) Barely March - “Lead Single”

This sounds like Joyce Manor turned up to a 17 out of 10 before unexpectedly turning into a hellogoodbye song.

33) New Lenox - “Old Words”

Not a typo from two songs ago -- legitimately a different band. This one was written by your boy. The first 15 seconds were from a demo recorded 1/2/16 before developing the rest in 2019 (after some encouragement). We have Dave Rokos on guitar/bass, Dave Hernandez on hums, and Brian Bedford on some very temporary sleigh bells. Themes: online dating, resolutions, exes, currents, Black Wednesday, hope, and Carly Rae Jepsen stage banter.

32) MakeWar - “Sails”

Honey, I can’t make it on my own

You might get some Gaslight Anthem vibes as the vocals come in, but by the time the song ends, MakeWar leaves their own imprint on this impassioned ballad.

31) Sheryl Crow & Johnny Cash - “Redemption Day”

Was gonna say Johnny’s voice could move mountains before realizing no, Johnny’s voice is the mountains.

30) American Football f/ Hayley Williams - “Uncomfortably Numb”

Sensitivity deprived I can't feel a thing inside I blamed my father in my youth Now as a father, I blame the booze

An unlikely collaboration that makes you forget about its unlikeliness by the two minute mark. The two voices trade spots, mesh, harmonize, and weave throughout this beautiful song.

Asides:

- Blake from “Workaholics” in the video?!

- Choose to interpret this song’s title as a Pink Floyd diss

- “I’ll make new friends in the ambulance” should be a 2005-level emo lyric that we all mock, yet it’s somehow one of the most stunningly appropriate closers of the entire year

- I wish my friend Luke was with us to hear it

29) Stuck Out Here - “Embarrass You”

Stuck Out Here got onto my radar with 2014′s amazingly named “Getting Used To Feeling Like Shit”. Five years later, they’re back -- and not feeling much better. The Toronto quartet’s Bandcamp describes the song like this:

They’re fucking up, but unlike previous releases, they’re finally holding themselves accountable.

You can even kinda hear their Canadian accents in the “I’m sorry I embarrass you...” part.

28) The Weeknd - “Heartless”

The Weeknd will be on these lists as long as he continues to make music even 1/8th as good as this.

27) The Chainsmokers f/ blink-182 - “P.S. I Hope You’re Happy”

A simple song that’s a touch more clever than you first realize. The Chainsmokers guy is giving me some real Owl City vibes. Also, how airtight of an apology is the line “I blame myself for when I was someone else”. It’s like the modern way of saying “When I was a child, I spoke like a child”.

Also also, the “I will find a way somehow...” harmony in the pre-chorus is as pretty as music got in 2019. The Chainsmokers are so sonically pleasing, whether you end up liking the music or not.

26) Vampire Weekend - “Harmony Hall”

ooooooooh, that crisp guitar in the intro

25) Alex Lahey - “Don’t Be So Hard On Yourself”

If Carly Rae Jepsen can get a sword, why can’t Alex Lahey get a god damn saxophone? HIT ME.

That solo, combined with the “Mighty Ducks” reference in the chorus, make this song untouchable.

24) Lizzo - “Truth Hurts”

Let’s be clear: this did drop in 2017 but was technically re-released in 2019, so it does qualify for our list despite the criteria threatening timeline. Anyway.

The walking piano part, the iconic intro line (with a lawsuit!), the Minnesota Vikings reference (causing a Green Bay radio edit), and all of the damn positivity. Lizzo was among music’s big winners this year, and her success made you wonder how the hell someone this talented was slept on for those two years.

Let’s end with the purse.

23) An Horse - “Ship Of Fools”

Awkward band name, but a song that makes you pay attention. Kinda like Tegan and Sara, had they stayed more rock. So much urgency in the vocals and lyrics.

22) Charli XCX f/ Lizzo - “Blame It On Your Love”

Trippy vid; Charli continues to give us anthems. Wasn’t super high on the Lizzo cameo, but it somehow made more sense in the context of said video.

21) Sincere Engineer - “Dragged Across The Finish Line”

Sincere Engineer is back -- you can tell from the second those guitar leads get goin’. Drums from 1:19 to 1:36 = /heart eyes emoji. My buddy Cox said his next tattoo very well could be the outro lyric “Too dumb to succeed, too honest to cheat”.

(Bonus fact: they did a beer collaboration/show with Pollyanna Brewing Company in 2019.)

20) Lil Nas X - “Old Town Road”

Was unwilling to listen when this first dropped solely because of how horrible Lil Nas X’s name is (”What if a rapper came out named ‘Lil Jay-Z X’?!”)... what a foolish notion. One billion streams and a Billy Cyrus cameo later, I wouldn’t have been able to miss out on the Song of the Summer (and year) if I tried. More notes:

- Picked this because I had to, but “Panini” is legit good (200+ million streams)

- Went with the original (sorry, Billy), which is a beautiful 1:53 long (brevity, brevity, brevity)

- Did you know: Lil Nas X uses a Nine Inch Nails sample on the beat? This Rolling Stone interview with Trent Reznor is super interesting

Reznor calls “Old Town Road” “undeniably hooky,” but once it exploded, he took a back seat to the phenomenon. “The reason I haven’t stepped in to comment anything about it is, I don’t feel it’s my place to play any kind of social critic to that,” he says. “It was a material that was used in a significant way and it turned into something that became something else, and those guys should be the ones the spotlight is on…. They asked if I wanted to do a cameo in the video, and it was flattering, and I don’t mean to be disrespectful, but I don’t feel like it’s my place to shine a light on me for that. I say that with complete respect.”

Still, Reznor is amazed at how the song became a juggernaut. “Having been listed on the credits of the all-time, Number One whatever-the-fuck-it-is wasn’t something…I didn’t see that one coming,” he says. “But the world is full of weird things that happen like that. It’s flattering. But I don’t feel it’s for me to step in there and pat myself on the back for that.”

19) Gryffin & Carly Rae Jepsen - “OMG”

What doesn’t this little bop have? It’s kinda Chainsmoker-y and tingles like cool breath hitting the back of your neck.

18) Craig Finn - “Blankets”

You travel your whole life just to get out to the place you’re gonna die

I love everything about this song: the artwork, the intro, the climax, the command Craig Finn has from start to finish -- with such a payoff. Now several albums in, the greatest compliment we can give is that his solo stuff now feels more essential than Hold Steady releases*. You can even hear it in this line: “When we got to the Twin Cities / I said ‘Man, I know some songs about this place’”. Another life.

17) Carly Rae Jepsen - “Now That I Found You”

Carly always keeps us in the sky; picking one song was difficult because the album is even more fulfilling as you get to put the pieces together.

16) Billie Eilish - “Bad Guy”

Different genres*, but Billie Eilish lived up to her hype in the exact same way Lana Del Rey did in the earlier part of the decade. Lana said she was the gangster Nancy Sinatra and totally fucking was. Billie feels like something potentially even bigger. Nearly everything about her aura lets you project (or even second guess, if you’re a skeptic). Is she dead-eyed because she’s high or disaffected? Or just Aubrey Plaza? Is it her or her brother that’s pulling the strings? How can someone so young be so good already? In the skinny fashion era of All Achilles Everything, how is she rocking such loose fits?

“I never want the world to know everything about me. I mean that’s why I wear big baggy clothes,” she said. “Nobody can have an opinion because they haven’t seen what’s underneath.”

“Nobody can be like ‘Oh, she’s slim-thick, she’s not slim-thick, she’s got a flat ass, she’s got a fat ass,’” she continued. “No one can say any of that because they don’t know.”

It almost seems too easy, but how much sense does that make to you?

Great jokes aside, I have so much anticipation for what’s next, with assured belief in its potential. Pitchfork:

In 10 years, she will still be well under 30. Let’s hope the planet survives that long.

Yes.

(* - though not totally)

15) Ben Gibbard - “Filler”

Before you check Gibbard’s, please listen to the original by Minor Threat. That’s what he had to work with. From there, a total transformation while doing the near impossible -- keeping its beating heart.

14) Martha - “Wrestlemania VIII”

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Third favorite song title of the year/favorite music video of the year. This is energetic, bratty punk at its finest; also surprised to find out it was British, but, based on the upcoming tour dates and YouTube description...

This is a silly & frankly quite rubbish video but when you are a band trapped within surveillance capitalism's endless hunger for content trying to promote a tour sometimes things will be a silly & frankly quite rubbish.

I love them. Seriously didn’t even notice the accents in the singing until I knew to look for them; now, it’s all I can hear. Also, the part in the video where they finally show someone with an instrument, only he stops playing guitar halfway into the solo (/crying emoji).

THEY SAY ABSENCE MAKES THE HEART GROW FONDA

13) Chance The Rapper f/ Ben Gibbard - “Do You Remember”

Chance The Rapper dropped a one hour and 17 minute album in 2019 because he is a monster. I could not name three songs on it, but this one stood out big. It’s Chano doing what he does best: reminiscing and evoking summer in his city. Gibbard on the hook gives it that 2005 nostalgia while also making you say “Damn, it’s been nearly 15 years since 2005?!”

Fav two lines:

1) “Used to have obsession with the ‘27 Club’ / Now I'm turning 27, wanna make it to the 2070 club / Put the 27's down, Lord, give me a clean lung / Took the ring up out the box, I know this ain't no brief love”

2) “That summer left a couple tan lines / I love my city, they let me cut the line on the Dan Ryan”

(If you know, you know.)

Two more asides:

- If you Google “death cab for cutie”, the next autofill from there is “do you remember”. Rough for the legacy.

- “My daughter on the swing like the 2017 Cubs�� is a line that confused me, but here’s how Genius explained it:

Chance is talking about a memorable summer and the things that made him happy. This line continues that theme when he raps about his daughter happily on a swing and how that’s similar to the 2017 Cubs. The Chicago Cubs won the World Series in 2016; therefore, the 2017 season was one of celebration and relaxation as the pressure of the 108 year drought was over.

12) Lana Del Rey - “The Greatest”

I miss Long Beach, and I miss you...

Listening to this song feels like watching the cement dry on a classic in real time. Lana Del Rey’s galactic “Norman Fucking Rockwell!” dominated lists at the end of 2019, and she -- to borrow her word -- fucking deserved it.

- The Beach Boys line is so god damn perfect

- The guitar solo (soooo sick)

- The breathy singing; the crooning; the notes that go up and then down until you’re surrounded by melody

- The perfection of this album name (minus the very iffy exclamation point) will have me comparing nearly any other all-time album title for probably the rest of our lives

- Tried playing this album during my Monday night pickup basketball run, and it very much failed... but that’s about the only thing it couldn’t do

- I’m told the dude with her on the album cover is Jack Nicholson’s grandson (named Duke Nicholson, because of course)

11) Off With Their Heads - “No Love”

If you do not like punk rock, this will be unlistenable. If you do, what a treat! I love how dissatisfied and put off he sounds, and, while there are a few more lively songs remaining on the list, none in 2019 got fast-tracked to my workout/pump up playlist at this speed.

Factoring in the band’s van accident (occurred after the release of this song), the “There’s nothing I could say that’s ever gonna make it right” outro becomes hauntingly clairvoyant.

10) Drake f/ Rick Ross - “Money In The Grave”

We need to face facts: it was a down year for stadium hip-hop. Nowhere on this list do you see Jay, Em, Kendrick, or Kanye (rest in peace). This was my favorite rap song of the year, and it couldn’t even crack the Top 5. Similar to his beloved Raptors -- who are being celebrated here -- it’s almost as if Drake needed some injuries outside his own locker room to get the crown. But I’m done being bummed, let’s focus on the good:

- Ohhhh, the intro (”I mean where. the fuck. should I. really even start?”)

- The way he says “grave” in the hook like he can barely contain

- The hook itself -- read it out loud: “When I die, put my money in the grave”

- How cool Ross sounds when he breaks in

- The Zion reference

The bad:

- Rarely take this angle, but really wouldn’t mind if it were longer

- Misogyny

9) PUP - “Bloody Mary, Kate And Ashley”

Second favorite song title of the year, 6/8 time signature, satanic references, drugs, hallucinations (maybe), and, yes, the Olsen twins.

8) Better Oblivion Community Center - “Sleepwalkin’”

“It’s impossible to count...”

The intro, as the tempo gets jarringly slower and slower, ironically helps you acclimate quicker. This Phoebe Bridgers/Conor Oberst collab was my No. 1 played track of 2019 (the album coming out in January definitely helped). The song builds to Phoebe’s solo part:

You like beer and chocolate I like setting off those bottle rockets We can never compromise But fighting 'til the death keeps us alive

It’s sung so well, you can almost feel the heat of the spotlight on her through the stereo. The lyrics could be anything.

The chill guitar solo takes us out.

7) AM Taxi - “Saint Jane”

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Adam Krier is such a rockstar, he had me shouting “I’m no hero, at best a zero!” within my fifth listen -- and I was skeptical as hell when I first heard the line. But that’s about where it stopped. You can tell this song is going to rip even before the vocals come in. When they do (”These fears don’t die, you get older and they multiply”), it’s just fucking time to go.

6) Taylor Swift - “Paper Rings”

My favorite pop song of 2019. Tay is firing on all cylinders; every lyric is exactly where it’s supposed to be; boppy and fun and sincere (while still being light-hearted). Still holding out minor hope it will be a single in 2020.

5) Pkew Pkew Pkew - “The Polynesian”

I’ve always said the best songs make you want to live the lyrics, whether they are positive or negative. This one had me researching “polynesian wisconsin” faster than I’m comfortable disclosing. And yes “bed bugs” and “needles” were both in the Top 7 recommended searches after those first two words.

Pkew Pkew Pkew collaborated with Craig Finn on some of their lyrics on 2019′s “Optimal Lifestyles”, and I’d be blown away if he doesn’t have fingerprints on this one -- the storytelling is pristine. Go into this open-minded, and I’d be shocked if you weren’t shouting the “Goatees, tall cans, camo pants, and Packers fans” mantra by the end.

Bonus story: this St. Patrick’s day in Chicago, I asked my friend Sara (Wisconsin native) if she’d ever stayed there, and she held up her elbow and showed me a scar from the hotel’s water slide. Your boy was over the moon.

4) Spanish Love Songs - “Losers”

It gets harder, doesn’t it?

Dylan Slocum has a way of not just writing depressing songs -- many lyricists are good at that -- but specifically depressing songs. This song contemplates death, homelessness, squandering your limited time on the planet, credit card debt, leeching off your parents because you have no other choice, crippling illness, and completely giving up because there genuinely is no other choice. The last lines are, without any hint of winking, “We’re mediocre. We’re losers. Forever.”

It’s wonderful.

Two straight Top 4 finishes for SLS; their 2020 album should be something special.

3) oso oso - “the view”

If Jade Lilitri is making personal progress in “microscopic strides”, you wouldn’t be able to tell by his songwriting. Every tune has a way of warming up your entire body and being. This grabs you, whether it’s the laid back guitar or the mismatched quick drums or the big ass chorus. While it came down to this one or “basking in the glow” (an actual single), the bridge here puts us over the top:

But not as much as the phone ringing Not as much playing my house Not as much as the way her goddamn voice sounds It's like taking in sun And then taking it back I fall into old habits I'm stepping over your cracks again

Her voice? This song.

2) The Menzingers - “Strangers Forever”

This song makes me want to rip up walls, sprint through streets with no destination, shred my lungs screaming off rooftops, bash hands drumming the steering wheel until my sprained fingers beg me to stop. It is such a perfect encapsulation of my favorite band of the decade and possibly of all-time.

Scranton’s sons gave me everything and more from 2010 through 2019, so it’s fitting they end so high here. This is probably the most clownable sentence of them all, but I am so constantly thankful I am alive to experience Greg Barnett’s songwriting. What he creates, I can only compare to the best books or movies or athletes or even personal relationships.

The way the guitar alternates in the headphones to start, the drums that go big and push the song along, the reverb vox that certainly could have less reverb, the “it is what it is”-style lyric of “My miserable memory’s making me more miserable”, the oceanic imagery, the quiet bridge that explodes into a final chorus. Barnett said the overall theme was inspired by Leo Tolstoy’s “Anna Karenina”.

In it, the character Darya Alexandrovna learns of her husbands infidelity and declares: “Even if we remain in the same house, we are strangers — strangers forever!” The idea of becoming a stranger to someone you so intimately know stuck with me, and became the overarching narrative to this song. Dolly’s statement is definitive, but she also realizes the trappings of 19th century patriarchal Russian society. It’s a complex conundrum, and while lyrically I speak in the first person, this song exists in a world outside of my own personal experiences. I wanted to write about the finality of relationships that need to end this way. Strangers Forever.

My only gripe is I wish there were more. But I’m the same person who never wants them to stop.

1) Signals Midwest f/ Sincere Engineer - “Your New Old Apartment”

Only one song could make me fear missing the chance to be with the love of my life the same year I married her. As discussed in “The Polynesian”, the best songs have the consistent ability to put you in someone else’s shoes. You are either reliving something you personally experienced or maybe taking it all in for the first time. And that can be powerful -- especially dealing with anything big picture.

“Your New Old Apartment” launches me into 2009 without ever asking. Age: 23. My life was transient, I had no career, I didn’t even believe in marriage. I left my retail job in the Chicago suburbs for an unpaid newspaper internship in New Jersey. When I saw the people I loved, I always tried to make it count. Still do.

The descriptors and feeling are suffocating, right from the jump:

I only saw you a couple times last year Once at a wedding, once at a funeral I wore the same clothes to both, and I was worried you would notice ‘cause yours were impeccable

That’s me, then. Not knowing how to dress but hoping to get by anyway. I remember talking to my buddy P before buying my “work clothes” and learning you needed to match your shoes with your belt. Boyish adulthood.

The song continues, and the narrator is filled in on 5-year plans. It may be cliche to speak, but every current moment is simultaneously your youngest and oldest. Being in my early 30s now, it is so easy to scoff at anyone’s best laid plans, but I’m also the same cat who thought The Wonder Years’ “Jesus Christ, I’m 26 / All the people I graduated with / All have kids, all have wives, all have people who care if they come home at night” was life-defining, because I was the same age when that dropped, and it always hits the hardest when it’s all around you.

What I love about these lyrics are the careful observation mixed with mature-behind-his-years restraint. For a very long time in my life, I did not think I would get to be with my wife as anything more than a friend. When you are forced to come to terms with those potential realities, you must make concessions and convince yourself they’re OK. So when it’s revealed the narrator’s muse is married, he resigns himself to hopefully seeing the person more and at least being adjacent to the life they are living. It is tragic but still something. It is alternate hope in the hopeless.

I can picture myself listening to this song that wasn’t yet written while leaving a 2009 or 2010 or 2013 wedding and wishing I told her everything. But I wouldn’t have -- not then. I would have poured my heart out into a diary and quoted a line or three from this at the bottom. But that was then, this is now.

In 2019, her new old apartment will be my new old apartment, and that will never be lost on me.

youtube

* * *

Bonus coverage. Since we are at the end of the decade, I rounded up our No. 1 song from each year and have that below:

2010: The Menzingers - “Time Tables” 2011: Jay-Z & Kanye West - “Gotta Have It” 2012: Carly Rae Jepsen - “Call Me Maybe” 2013: Kanye West - “On Sight” 2014: The Menzingers - “Where Your Heartache Exists” 2015: Big Sean f/ Kanye West - “All Your Fault” 2016: The Menzingers - “Lookers” 2017: The Menzingers - “After The Party” 2018: Horror Squad - “I Smoke The Blood” 2019: Signals Midwest f/ Sincere Engineer - “Your New Old Apartment”

* * *

It’s time to stop writing. Thank you so much for reading.

Spotify playlist is here, featuring 70 of the 75.

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tortuga-aak · 7 years

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Everyone asks me the same question about spending 4 days with Tony Robbins — here's what I tell them

Graham Flanagan/Business Insider

I interviewed and shadowed Tony Robbins over four days at his Fiji resort Namale.

For the last three decades, Robbins has been the premiere "performance coach," building a business empire and coaching clients like Paul Tudor Jones and Bill Clinton.

Robbins can be a polarizing figure, but I found him to be a genuine person with practical insights, not hollow positive thinking.

When I tell people that I spent four days with Tony Robbins, they always ask a version of the same question: "What is he really like?"

This can be asked with skepticism: "I remember his infomercials. He's just a con artist selling motivational speeches to desperate people, right?" Or they can be asked with reverence: "His lessons changed my life. Is he as inspirational in person? What did he teach you?"

I recently had the chance to travel to Robbins' Fiji resort Namale, where he was hosting the winners of Shopify's Build a Bigger Business competition, to form an opinion.

Robbins, who determined that his presentation and mentoring style was captured by a job he deemed "performance coach" at some point in the '80s, has been at it for almost 40 years now. In that time he's sold millions of books and audio tapes, and given thousands of presentations to packed crowds. He's coached people like Salesforce founder Marc Benioff, tennis champion Serena Williams, and even former US President Bill Clinton.

Robbins is as relevant today, having developed a massive online audiencee of fans who eat up articles and videos about his lessons.

It's hard to not have some sort of opinion of him at this point. Perhaps the reason why people can feel so strongly either way about him is because no one else really does what he does, and so it's hard to put him into a context where he's not just fitting an exaggerated archetype, for better or worse.

Before I first spoke Robbins during his 2014 book tour for his personal finance guide, "Money: Master the Game," I was unsure of what to expect.

As a little kid in the '90s, my dad would occasionally play Robbins' tapes in the car, and I remembered Robbins' deep, raspy voice more than the actual material. At one point, my dad asked our family to take a sort of personality test assessment from Robbins' website, and I objected on the grounds that it was all nonsense. This guy was monetizing meaningless motivation, I thought.

But about two decades later, I decided differently.

Tony Robbins genuinely wants to help.

When I met Robbins, I got a first impression that was confirmed over several more interviews and finally developed further during the Fiji trip: He's an incredible communicator with a magnetic personality and a genuine desire to help people. And rather than acting as a huckster, he's a shrewd businessman who knows how to develop products for both the masses and the wealthy. On top of that, he's invested in and assists 30 companies, directly running 12 of them — one of his latest projects outside of his coaching career is developing the upcoming Major League Soccer franchise in Los Angeles, LAFC.

I noted how practical his coaching approach is when seen in person. I'll admit that when I watched Joe Berlinger's 2016 Netflix documentary "I Am Not Your Guru," which followed one of Robbins' "Date with Destiny" multiday seminars, I felt that some of the interactions between Robbins and audience members seemed cult-like. Here was a god who appeared onstage to instantly solve the romantic, career, and spiritual problems of his enraptured followers.

But when such a long event is cut down to a narrative of just the dramatic scenes, it can take away some of the nuance of how Robbins connects with people. After spending four days hanging out with Robbins, talking about his career, observing coaching sessions he had with entrepreneurs and then discussing them with those entrepreneurs, I saw Robbins in a different light.

He's certainly one of those figures with, as it's been ascribed to the late Apple cofounder Steve Jobs, a "reality distortion field," that can suck you in, but even weeks after the trip, the documentary looked different to me on a second viewing.

The parts that previously looked to me like something out of a megachurch now looked like Robbins having fun with people who were letting loose rather than giving into a cult. Robbins seemed more like a rock star lighting up a crowd of fans than a televangelist preying on a weak audience.

It's this lack of context that can give a wrong impression of what Robbins actually does. For example, there's an old clip floating around YouTube, not from Robbins' official channel, with the title, "Tony Robbins — 30 years of stuttering, cured in 7 minutes!" It's portrayed like a David Blaine trick, and so further confirms extremist biases around Robbins in either direction. It's not worth getting into an investigation of it, but it seems much more likely that Robbins helped this stutterer with a sense of self-worth, and that increased confidence in speech projection could allow for a sort of coping mechanism to the stutter, rather than triggering an instant "cure."

In person, Robbins is quite practical. The heart of the vast majority of the stuff you'll hear him telling crowds or individuals can be found in books about behavioral psychology, leadership, entrepreneurship, and personal finance — his talent is connecting the dots on some of these ideas and relating them to people in an intimate way in a remarkably fast time. He knows how to read people well and speak to them in a way that works best for them.

Take his latest personal finance book, "Unshakeable" — there's no get rich quick scheme or dangerous advice in there. In fact, it's mostly the sort of stuff you could find on Vanguard's website. But with Robbins' energetic, simple way of writing, financial concepts that would make the average reader fall asleep suddenly become enjoyable to read.

Graham Flanagan/Business Insider

Wealthy, successful people pay him for his pragmatism.

He even takes this approach with his small batch of personal clients, which includes the billionaire investor Paul Tudor Jones, who pays him a $1 million annual fee and a performance fee tied to that year's profits. Jones hired Robbins back in 1993, when Jones had hit a rough patch after becoming famous on Wall Street for correctly predicting the 1987 stock market crash.

Robbins studied all aspects of Jones' behavior and decision-making, comparing how he behaved during upturns with how he behaved during downturns. "I uncovered for Paul Tudor what he was doing at his best," Robbins told Business Insider last year. "I got to interview all the people around him," Robbins said. "I watched films. There were patterns that Paul Tudor was doing when he was at his very best, and he had dropped them out."

Jones began making money again, and was convinced that Robbins had a big enough role in that turnaround that he kept kept him as his coach. The two have checked in every day since then.

"The amazing thing about Tony is how he can deconstruct what drives certain behaviors and help you develop a plan for action with carefully-considered risk and reward propositions," Jones wrote to me in an email.

Jones introduced Robbins to Ray Dalio, founder of Bridgewater Associates, the world's largest hedge fund. Dalio agreed to be interviewed for Robbins' first personal finance book. "He shocked me in his level of understanding because he had researched me and he had researched the investment area so well and he was so conceptual that the quality of his understanding was shockingly great, and the interview was very good," Dalio told me. Dalio became friends with Robbins after that interview, and flew to Robbins' Florida home to launch his book "Principles: Life and Work" with a Facebook Live interview in September.

Salesforce founder and CEO Marc Benioff often credits much of his success to studying Robbins' lessons from a young age, and he both meets with Robbins on a personal basis and regularly invites him to Salesforce's annual Dreamforce conference.

There's a reason he's been able to inspire people for nearly 40 years.

A ticket to Robbins' three-and-a-half-day event "Unleash the Power Within" goes for $650 to $3,000, but he offers scholarships through his foundation (which, on a separate note has a 93.48 rating from the charity watchdog Charity Navigator), and unsatisfied customers can receive refunds for many of his products and programs. And aside from a paperback edition of his book, there's plenty of free material from him on the internet. My initial cynicism around his pricing has essentially changed to my belief that he knows his audience and knows how to maintain a massive business around himself.

Robbins isn't a therapist or a business consultant, but he's also a bit of both — combined with a football coach.

Marie Forleo, MarieTV founder and Oprah Winfrey collaborator, has worked with Robbins and said that he doesn't replace either, but is rather his own thing, and a valuable resource at that. "What Tony offers is something utterly unique that frankly, I've never been able to get from any therapist or consultant I’ve worked with," she told me. "And I've worked with a lot."

Billy Beck IIIIf the idea of going to a self-improvement seminar or reading a book with a title like "Awaken the Giant Within" turns you off, then what Robbins' does probably isn't for you. But after interviewing him several times over the course of three years and shadowing him for four days, I'm convinced that while Robbins definitely isn't for everyone, he's a sincere guy who truly lives what he preaches, and shows no signs of slowing down.

On our last day in Fiji, my colleague Graham Flanagan and I went to Robbins' private residence to grab some last minute footage. We hoped to stretch our promised 10 minutes to 15. Instead, as his team loaded up cars in preparation for their upcoming flight to Australia, he had his personal trainer (and friend) Billy Beck III grab an SUV and take us on a trip to "the waterfall."

As his team anxiously waited for us back at the house so as not to throw his schedule totally out of wack, Robbins took us on a tour of his favorite parts of his property, culminating at a beautiful waterfall. To our surprise, he dove in, pulled his shirt off, and, catching the camera, gave a Tarzan-like yell as the water crashed on him. Then it was my turn to jump in and try.

We drove back down the hill to his house, talking about the recurring coaching techniques he's built into a "tool box" over the years. Along the way, he chatted with some of the resort's workers and sipped from a coconut one gave him. Back at the residence, a collection of about 20 members of staff sang a traditional Fijian farewell song to Robbins before he left, which is what they do every time he leaves. Tears filled his eyes as he sang along.

Tony Robbins is a larger-than-life figure with plenty of quirks, but the person you're seeing is really him. You're either along for the ride or you're not.

NOW WATCH: Tony Robbins takes us on a private tour of his massive beachfront mansion in Fiji

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classicfilmfreak · 7 years

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New Post has been published on http://www.classicfilmfreak.com/2017/07/13/the-house-of-frankenstein-1944-starring-boris-karloff-lon-chaney-jr-and-john-carradine/

The House of Frankenstein (1944) starring Boris Karloff, Lon Chaney, Jr. and John Carradine

“As for you Strauss, I’m going to give you the brain of the wolf man so that all your waking hours will be spent in untold agony awaiting the full of the moon . . . which will change you into a werewolf.”—— Dr. Niemann (Karloff)

It is hard to tell with Universal Pictures, difficult to keep track of the myriad, seemingly endless horror films, especially during the 1930s and ’40s, at least one film a year.

The studio’s best sound films came in the ’30s, beginning with Dracula and Frankenstein, both in 1931. Then followed The Old Dark House and The Mummy, the best two releases of that bumper crop year, 1932, which included at least four exceptional horror productions. The Invisible Man, with its then amazing special effects, appeared in 1933. The decade peaked in 1935 with The Bride of Frankenstein, not only a great horror film, but a great, milestone film, period. And, to close the ’30s, Son of Frankenstein in 1939.

Although the horror film was still in vogue, the ’40s brought a discernible decline, both in the number of releases and, more crucially, in the quality of the films. While interesting in its own right, The Invisible Man Returns (1940) was a pale sequel after its Claude Rains predecessor. A high point, though, was The Wolf Man (1941), recalling the glories of the ’30s, and Lon Chaney, Jr.’s first stint as the tormented man-turned-werewolf, for, yes, “even a man who’s pure in heart and says his prayers at night . . . ”

Universal’s frequent turn to horror comedies had been highly successful in 1939 with Bob Hope’s The Cat and the Canary, and continued into the ’40s with The Invisible Woman (1940) and Hold That Ghost (1941), the first in the horror genre by comedy team Bud Abbott and Lou Costello.

There also emerged a trend, sometimes tepidly executed, toward the serious and the non-monster movie, more adult fare. The Uninvited (1944) featured a mere filament of a floating ghost, which was dispatched with some stern words from non-horror star Ray Milland. Another remake of The Phantom of the Opera (1943), now in color, starred Rains who wreaked havoc on an opera house. And The Unseen (1945), an early take on the serial killer, showcased a human monster, with still more non-horror stars, Joel McCrea and Gail Russell.

In the 1950s Universal had abandoned Dracula, the Frankenstein monster, the werewolf and the Mummy. In their places, from Universal and other studios, now came aliens from outer space and insects and cephalopods giganticized by radiation from man’s mishandling of things beyond his understanding. But this is entirely another offspring of the horror film, for discussion at another time.

Returning to the ’40s, by the time of The House of Frankenstein—the gang’s all here in this one except the Mummy!—the Dracula-Frankenstein-Wolf Man movies had so overlapped, intermingled and been repeatedly rehashed that little, if anything, new remained to say—or show.

This, however, didn’t prevent production on House, and for the possible few in the audience who might be unfamiliar with the stories, lectures were deemed necessary. George Zucco, in his brief screen time, explains, as if anew, the Dracula legend, and Boris Karloff informs new viewers and reminds the old ones about the Frankenstein monster’s origins and social interaction problems. It could be assumed that if someone is so inclined to watch House, he would have seen the earlier films and been familiar with it all.

If there were any ways for these plots and stories to be reinvigorated, or at least done with a new approach, Universal didn’t use them. House is, in fact, two movies. The first—and better—half is about Dracula and the Frankenstein monster; the second half concerns another of poor, distressed Larry Talbot’s search for a cure for his hypertrichosis, this serious wolf transmutation.

Compared with most of the scores in these films, Hans J. Salter, now aided by an uncredited Paul Dessau, produces a less horror-sounding main title. Eliminated, too, is that camera roaming the traditional fog-drenched woods, most memorable in The Wolf Man, now replaced by a matte of a non-threatening blur, which seems to complement the more lyrical moments of this particular main title.

Even before the fading of the final credit, “Directed by Erle C. Kenton,” the film has already begun. A team of four horses is pulling a two-wagon caravan through a rainy night. As the first wagon passes in a close-up—the distorted reflection of studio lights clearly visible on its smooth surface—painted on the side is “Professor Lampini’s Chamber of Horrors.”

The caravan, to be seen later, passes by the gates of Neustadt Prison, where, inside, a guard (Charles Wagenheim), accompanied by lumbering bassoons, is bringing food to one of the prisoners. When the guard opens the small window of the cell door, an arm reaches out and grabs him in a choking hold. “Now will you give me the chalk?” Just like this man to demand chalk when a common criminal would have insisted on the keys to his cell!

Now with his chalk and blackboards, Doctor Gustav Niemann (Karloff) illustrates how Dr. Frankenstein might have gone wrong in severing the monster’s spinal cord at the base of the skull. In an adjoining cell, his one student, so to speak, is hunchback Daniel (J. Carrol Naish), a low-key hysteric (if such is possible) who will soon be humbly calling Niemann “master” and be all too willing to do his bidding.

Niemann’s objective, as he tells Daniel, is to retrieve Dr. Frankenstein’s records from his castle which, keen viewers will remember, was flooded at the end of Frankenstein Meets the Wolf Man (1943), drowning both the monster and the Wolf Man.

Fate, with a little help from the screenplay, generates a timely storm and lightning brings down part of the prison. Niemann and Daniel escape through the woods, only to come upon Lampini’s caravan, stuck in the mud. What a coincidence! With the escapees’ help, Professor Lampini (Zucco) frees the wagons. When Lampini says he has no intention of going to Reigelberg, not to Vasaria where Niemann is headed, the doctor has Daniel kill the showman.

As the caravan rattles toward Reigelberg—all the carriages in Sir Arthur Conan Doyle’s Sherlock Holmes stories “rattle”—Niemann assumes Lampini’s identity, telling Daniel, “All the protection of a traveling show . . . free to move on to those for whom I have unloving memories . . . ” He has several scores to settle with old enemies, including the bürgemeister of Reigelberg, Hussman (Sig Ruman, best remembered as the barracks guard in Billy Wilder’s Stalag 17, 1953).

An effective screen dissolve and Hussman is playing chess with Police Inspector Arnz (a rather tame part this time around for horror staple Lionel Atwill). Enter the bürgemeister’s son Karl (Peter Coe) and his American wife Rita (Anne Gwynne). She invites them to a visiting show of horrors. “Spooks, ghouls, vampires,” she jokes.

Apparently it is during Niemann’s first show that things turn uncomfortable. About the time Hussman is thinking Niemann looks familiar, the mad doctor shows the audience Dracula’s skeleton, snug in its coffin, and boasts, “If I were to remove this stake . . . ”

Perhaps doubting the power of the Dracula curse, or because of a mental lapse, Niemann does absentmindedly remove the stake from between the skeleton’s ribs, lifting it toward Hussman. But, then, he’s distracted. In the first of Universal’s (John P. Fulton’s) special effects in the film, the skeleton materializes into the corporeal Dracula (John Carradine). Dracula agrees to serve Niemann when the doctor threatens to reinsert the stake: “I’ll send your soul back to the limbo of eternal waiting.”

After Dracula has seduced Rita, enticing her with his finger ringer that sends her into a mesmeric trance, seeing people “who are dead yet alive,” Niemann destroys Dracula’s coffin and its nighttime occupant perishes in the sunlight. End of the so-called “first movie.”

Now, onward, to Frankenstein’s castle with all haste! And surprise! Niemann and Daniel find, without much trouble, the bodies of the monster (Glenn Strange) and the Wolf Man (Chaney), frozen in the waters, though, strange, the surrounding climate is warm enough for shortsleeves! (No, no—such incongruities aren’t questioned in horror films and the most faithful devotees of the genre take all these in stride.)

Niemann thaws the two bodies, again without much trouble, and promises to cure the Wolf Man of his full moon hang-up. Meanwhile, Daniel has taken a fancy to gypsy girl Ilonka (Elena Verdugo), whose mind seems numb to the unsavory hunchback. She is more interested in Talbot, and numb, again, now to this guy’s own problem. Anyway, Talbot kills Ilonka during a werewolf spell, but she kills him with a silver bullet before she dies.

Will those who are left be disposed of as well? Niemann has dragged his feet in his promise to restore Daniel’s deformed body, and now Daniel believes his master is responsible for Ilonka’s fate and turns on him. But the monster throws him out the window, and carries the half-conscious Niemann through the woods, pursued by the angry villagers, the familiar torches at the ready.

In restoring the monster to life, Niemann apparently neglected to improve its mental capacities, for when the good doctor warns this giant, “Don’t go this way. Quicksand! Quicksand!,” the monster heeds not a word, and——

Not to worry. Next year, 1945, the Frankenstein monster, Dracula and the Wolf Man will have a whole new beginning, another rebirth, in The House of Dracula, all creatures played by the same actors from House of Frankenstein.

https://www.youtube.com/watch?v=6Wp50RXhyRo

#Boris Karloff #John Carradine #Lon Chaney Jr.

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