Archive for October, 2011

If you know the Wild Heart well, you know that there is a few musical things that are important to her……..or at least she thinks is pretty interesting:

  • Stevie Nicks – heck she named the blog after her album The Wild Heart because, after all, it is a pretty good album.
  • all things classic rock/pop
  • God – well that one goes without saying
  • all things related to the 80’s – all inclusive on this one
  • record stores
  • Grooveshark – pretty groovy little music service introduced to me by my ex-boyfriend.

And lastly, the early days of a certain network that no longer lives up to its own name: MTV. Since it’s inception in 1981, one thing has changed vastly: technology. Remember the days where you would wait around the radio or the television to listen to your favorite song. I know I did it with pretty much any song by either LeAnn Rimes, Avalon (christian band), Point of Grace (another Christian band – think the christian equivalent of the Spice Girls), etc.

Well now no thanks to technology, iTunes and some amazing web developers who probably love music as much as I do, you can now listen to whatever song whenever you want.

Since I (and hopefully you) are a big fan of old skool MTV, I decided to make a playlist out of the 1st 24 hours of MTV. However, there are a few songs that we couldn’t find on Grooveshark right now. Songs like Iron Maiden by Iron Maiden, Little Suzi’s on the Up by PHD, In the Air Tonite by Phil Collins, Lucille, by Rockestra, Remote Control/Illegal by the Silencers, Hold On To The Night by Boot Camp, Victim by Boot Camp, Oh God I Wish I Was Home Tonite by Rod Stewart, Cruel You by the Shoes, Calling All Girls by Hilly Michaels, Let’s Go by the Cars, Riding Out the Storm by REO Speedwagon, I Don’t Want To Know by Robin Lane and the Chartbusters, Kid Blue by Louise Goffin, In My Arms Again by the Shoes, and finally Victim by Bootcamp.


U2 Unsure of Their Future | Classic Rock News – KKRW 93.7 The Arrow

Houstons Classic Rock Station.

This cannot be happening. Everytime they come to Houston it never fails: I have no real job and everyone else gets to see U2 including my arch enemy, who basically was born with a silver spoon in his mouth and thinks it’s okay to mock me. Somehow his sorry self gets pit tickets and I get NOTHING as usual!

So I guess I can count the fact that I will never get to see U2 live – but everyone else will.

Kate Bush is perhaps the most unique visual-oriented rock artists to ever emerge from England. Her music mixes both visual and literary forms with extremely distinct musical stylings that are far above her peers both past and present. Who knew that a farmgirl from Bexleyheath, Kent, England would forever change music.

Kate Bush’s The Kick Inside quite amazing. Bush shows that she isn’t your average british rocker on Kite, which appears to make heavy use of a synthesizer in an almost-Christine McVie (of Fleetwood Mac)-like fashion. Bush continues this on the Billy Joel-esque James and the Cold Gun.

However, she hones her qunique art-rock sound on Them Heavy People, where she talks about how a persons religion can be their driving force.

With this album, Bush heralded in a new era where the men were no longer the kings of the music charts. With her debut single, Wuthering Heights (which would later be covered more famously in the US by rocker and MTV darling Pat Benatar) made her the first woman to ever have a self-penned number one hit in her native United Kingdom.

One of the best things about Contemporary Christian Music singer Amy Grant is that she isn’t afraid to tell the truth. Though the truth can hurt, she does it in a very loving way. This is what makes her rather popular even to this day in Contemporary Christian Music.

On 1982’s Age To Age, Grant shows that she is now a beautiful, young, Christian woman. Grant, whose previous albums included her self titled debut album (recorded when she was only a teenager), My Father’s Eyes, 2 live albums, and 1980’s

Cover of "Age to Age"

forgettable Never Alone.

Grant takes a new musical direction with Age to Age. She and then-piano player Michael W. Smith experiment with some of the musical stylings that made the music of Fame popular at the time on Don’t Run Away.  Grant also grows up lyrically on Got to Let It Go where she exclaims “Lord, here’s my heart/ I’ve been keepin’ it from you/ And I’ve got to let it go/ Holdin’ on just brings me worry.

Other songs, she takes a more classically-inclined approach. Songs such as Sing Your Praise to the Lord, and El Shaddai, which is sung partially in Hebrew. The latter talks about the death of Christ.

Age to Age  was the first Christian music album to gain gold certification status in 1983. It became the first of its genre to be certified platinum in 1985. Upon its release, it became the fastest-selling CCM album during that time – unheard of in that genre back then!

Overall this is a good album, but if you are not familiar with Grant’s earlier work – only her later work, you will be dissappointed.  However this is still a classic.

A few months ago I wrote about how bad radio in Houston has gotten since rock 101 KLOL went off the air in 2004. Even worse, it seems like Clear Channel has taken over everything. The playlists from station-to-station are virtually indistinguishable.

I wanna know this: when it comes to playing an artist, especially a female one, radio programmers seem to stick to only a few hits – not all their hits. For example: when Stevie Nicks came to Houston in August, 93.7 the Arrow celebrated by playing one of her cds for their “Classic CD at Midnight.” However, did they pick one of her classics such as Bella Donna or The Wild Heart. No. They chose to play Crystal Visions: The Best of Stevie Nicks. There’s nothing wrong with that per se except for the fact that it furthers the fact that, whenever they play a popular artist, they will play the same 4-5 songs by that artist that are on their playlist and nothing more. Why not play Bella Donna when she comes to town?

The Gold Dust Woman isn’t the only one they do this to. They have also done this to Pat Benatar. They seem to play either Heartbreaker, Hit Me With Your Best Shot, Love Is A Battlefield, Shadows of the Night, etc. No You Better Run or I Need A Lover or the like.

Here’s a thought: how about playing some different songs from various artists back catalogue? Take for example anytime Cocaine is played by Eric Clapton. How about playing Forever Man or Tears In Heaven. Would it hurt to do that? People are tired of listening to the same old song and dance.


One artist that the Wild Heart has come to have a strong love for lately is the Who. They are, and always will be, the quintessential showmen of rock & roll with their onstage personas.

The Who is one of those artists that are perhaps better live than their recordings. They prove this on their 1971 release Who’s

Cover of "Who's Next (Deluxe Edition)"

The Who mix the old with the new on "Who's Next"

Next. The best thing about this album is its usage of synthesizers on such songs as Baba O’Riley where lead singer Roger Daltry leads the rallying cry “we’re all wasted!” with gusto. It makes the listener want to get up and do their best windmill air guitar. Baba O’Riley is only made better by the roaring violin that seems to dominate the track. It is nothing short of beautiful.

Though some tracks, such as Love Ain’t For Keeping and My Wife sound like their classic 60’s songs like I Can See For Miles, this album was clearly a signal that the band was taking a step in a new musical direction. However, on Won’t Get Fooled Again, those two musical worlds are meshed together.

Either way, it is a beautiful marriage of the musical style that made the Who popular in the first place with what is to come.

Cover of "Angels of Mercy"

CCM artist Susan Ashton is perhaps one of the most underrated artists of all time. Not only has she worked in Contemporary Christian music but she has also worked in country music: she is an occasional backup vocalist for Garth Brooks and has even released a country album, 1999’s Closer.

However her better moments were when she recorded 1992 album for Sparrow RecordsAngels of Mercy. This masterpiece has one theme that flows freely throughout the album: mercy and how it plays into the various aspects of life with Christ. Ashton wastes no time in singing God’s praises about how he never leaves or forsakes his children with the rockabily-fused CCM classic Here In My Heart.

One of the most gut-wrenching (and convicting) tracks is the country-tinged Started As A Whisper, which tells the story of a teen mother being turned away from a church because she’s pregnant. It’s a track that almost foreshadows the current state of the church in America, which is in a state of decline. Ashton points out in her own poigniant way “The chance we have today just maybe gone tomorrow and when it comes down to the soul, time may not be borrowed.”

Ashton’s strong points are her penchant for country-rock. She does this well on Walk On By, which speaks of the subject of temptation. Ashton even alludes to her own past struggles in the Trisha Yearwood-fused Walk On By.

This Grammy-nominated album is a little hard to come by these days unless you are able to get it used. If so, I highly recommend it. This album is anything but cheesy.


One thing, for better or worse, it seems that in the past couple of years has been going on in music is a wave of remakes. This spans all genres, surprisingly. However, is this a good thing? I don’t know. So here is a lost of remakes and whether or not they are worthy of the original artists blessing.

1) Edge of Seventeen by Stevie Nicks.
Remade by Lindsey Lohan
Hit or miss? Miss by a LANDSLIDE! Seriously! Lindsey you sound coked up and drunk! Your version is like a bad youtube video of you singing karaoke with friends.

2) Carry On Wayward Son by Kansas.
remade by: Rachel Rachel.
Hit or miss? Definetly a hit. Whereas the Kansas one was excellent, the Rachel Rachel not only introduced it to a brand new then-niche audience, but also gave it a nice 80’s facelift.

3) Boys of Summer by Don Henley
remade by: The Ataris
Hit or miss? Miss. The original was better. It contained less screaming.

4) Take My Breath Away by Berlin
remade byJessica Simpson
hit or miss? Berlin’s version was more organic, albeit with a tint of lonliness. It worked well for the Top Gun Original Motion Picture Soundtrack. It even won the 1986 Oscar for Best Original Song. Those tracks are some pretty big ones to follow in. Jessica Simpson doesn’t do so with her earthy version.

5) Here In My Heart by Susan Ashton
remade by: Martina McBride
hit or miss? Definetly a hit. Both are great versions because they are done by great vocalists. Ashton’s version is a bit more rockabily However, the main thing that carries this song is the message it has, which is about how

6) Stop Draggin My Heart Around by Stevie Nicks and Tom Petty
Remade by: Neko Case and My Morning Jacket
hit or miss Definetly a hit. Neko does a great job singing Stevie’s part. Additionally, My Morning Jacket sounds UH-MAAZING playing the song. It’s a nice little update to a classic with 2 of the current-hottest rockstars.

7) This Woman’s Work by Kate Bush
Remade byMaxwell
Hit or miss: Definetly a hit for this reason: it introduced Kate Bush to a new generation.

8) Everybody Wants to Rule the World by Tears for Fears
Remade by Relient K
Hit or miss: Relient K is quite possibly the best at remakes. They always stay true to the heart of the song. This is a hit!

9) Wouldn’t it Be Good by Nik Kershaw
Remade by: Danny Hutton Hitters
Hit or miss: I must say that both versions are pretty good. However, the more memorable of the two has to be the version by the Danny Hutton Hitters because it was featured in the 1986 Brat Pack classic Pretty In Pink.

10 Is She Really Going Out With Him by Joe Jackson
Remade by: Sugar Ray
Hit or miss: Though it stays true to the heart of the original, it just doesn’t click with Mark McGrath, a decent-looking guy, singing the song. It fits Joe Jackson much better.

Fame (1980 film)

Image via Wikipedia

Good art stands the test of time. The 1980 version of Fame is one of those films that, as long as their are teenagers with dreams, will always stand the test of time. Couple that with the pre-MTV disco-tinged soundtrack, you have one excellent film.

The film follows a unique group of students at the New York Highschool for the Performing arts (currently known as LaGuardia Highschool) in the areas of drama, dance, and music. Starting with their auditions, we are introduced to these endearing characters. Little do we know, we are in for a rollercoaster of a time.

One of the best things about this film is that it is meant to be edgy. It was released in 1980 and covered such current hot-button issues like abortion, drug usage, and even GLBT issues. A scene that exemplifies this is when Ralph Garci wows the audience at Catch A Rising Star, but then is caught up in the downside of fame including drugs and alcohol.

It’s a cast of virtual unknowns but somehow it works.

This is perhaps the best representation of what it is like to go to a performing arts highschool.


Kate Bush is one of those artists that has had a rather silent hand in shaping modern-day music in the US. While you may have never heard her original music, she has been covered by and inspired numerous artists that are either from or popular in the US and Canada including Coldplay, Charlotte Church, Natalie Cole, Maxwell, Tori Amos, Lily Allen, Pat Benatar, Coldplay, Muse and even rap duo OutKast, among others.

Her music has been featured in such films and television shows like She’s Having A Baby (whom Bush thanked director John Hughes in the linear notes of The Sensual World for using her song “This Woman’s Work” during the birth scene) and the hit CW television show 7th Heaven.

One of the best parts of the album is Bush’s 1986 single Hounds of Love from her album of the same name. The song itself includes sound samples from the 1957 British horror film, Night of the Demon. The sample itself is spoken by actor Maurice Denham.

The coolest thing about Bush is that she extensively melds classical music and pop/rock. She does this well on such tracks as Sat In Your Lap and the new wave-tinged Experiment IV.

Her 1986 album, The Whole Story, essentially highlights the best of Kate Bush’s career right up to 1986. While the album is great, it doesn’t even begin to cover her. Noticeably absent from this compilation are Them Heavy People from her debut album The Kick Inside and Big Sky. Perhaps this would be better billed as “Kate Bush for Dummies” because, while it doesn’t cover 100% of her illustrious career, it is a great introduction to one of the greatest female vocalist England has to offer.