Under-appreciated Masterpieces of Forever
You might already know some of these, or they might be new to you, but here are seven under-appreciated musical masterpieces that you don't want to miss.
While putting together my first piece, I decided on something frivolous because, at my core, that’s what I am. So, I’ll be delving into seven different songs: Examining their significance, their impact on music, and why they deserve a spot on this list. Our tastes may vary, but that is the beauty of opinion. My hope is that this piece will implore you to appreciate the craft and the artistry that went into making these standout songs.
1. Brand New Cadillac - The Clash
The Clash’s London Calling, released in 1979, is one of their best known records today, carrying hits such as “Train in Vain (Stand by Me)” and the title track, “London Calling.” The former charted at number 23 on the US’ Billboard Hot 100 and paved the way for the band’s entrance into America’s lexicon as a British pop-punk group. They became known for introducing the new wave and post-punk movement, and are still regarded in high-esteem today. Unfortunately, many of their tracks have not received the credit they deserve, specifically this fast-paced head-banger titled “Brand New Cadillac.” Although not lyrically superior, the track is short and high-energy, coming in at only two minutes and eight seconds. The speaker tells the story of his “baby” driving “up in a brand new Cadillac” (Clash, 0:12) as he becomes increasingly frustrated with her behaviour. By the end of the song, he’s crying out repeatedly, “She ain’t never comin’ back” (Clash, 1:43). The standouts of this song are the live instruments, driving up the energy, alongside the line delivery. Joe Strummer, the band’s lead singer, has a strained yet emotive voice that captures the speaker’s desperation as he attempts to understand his lover, and his confusion over her departure. The guitar further intensifies these emotions, adding an energetic layer that epitomizes the song’s head-smashing, high-blasting nature. Topper Headon on drums further elevates the track, contributing to its dynamic sound, branding “Brand New Cadillac” as a two-minute burst of pop-punk magic that remains a standout in my personal collection of greatest hits.
2. Wife - Mitski
Mitski’s debut album, Lush, released in 2012, features a number of devastating tracks that, only after many years, have gained the recognition they deserve. A rarely discussed yet deeply soul-crushing gem is “Wife,” a melancholic piano ballad that grows in anguish before petering out into quiet solitude. (I will admit that I tend to be partial to the piano and often fall under its spell if it’s a song’s shining instrument). Mitski’s voice quivers ever so slightly as she croons out devastating lyrics that tell the story of a woman whose “dream [is] breaking…me” (Mitski, 1:26). There are numerous interpretations surrounding the track’s narrative; on the surface, the speaker details her inability to “bear [her partner] a son” (Mitski, 0:38). Ashamed of her failure and isolated by her husband’s disdain, she ends the song, pleading, “So let me go towards the morning star / with hope it won’t disappear” (Mistki, 2:20). “Wife” ends feeling as though she’s followed through on her demise, finally falling from the cliff she’s been “looking down” (Mitski, 0:27) from for so long. The beauty of Mitski’s delivery is that the song captures a multitude of pain, applicable to any devastating scenario life hurls our way. She manages to break our hearts both sonically and lyrically, a difficult feat that is rarely achieved.
3. Little Faith - Ryan Beatty
Originally introduced to me by a friend, Ryan Beatty is a gifted artist whose most recent project, Calico, captures the feeling of a bittersweet nostalgia, packaging heartbreak between the confines of a warm embrace. The album closer, and one of my favourite tracks, “Little Faith,” is a quiet serenade of hope, delivering beautiful harmonies throughout the song’s chorus. Initially, I was captivated by Beatty’s angelic voice and ethereal production; however, the song became something deeper after dissecting the lyrics. From mental illness to closeted queerness, the speaker covers a wide range of struggles, both detailed enough to name, yet vague enough to relate to. Beatty’s thesis finds us early: “I don’t think I wanna do this / But I can’t give into my old ways” (0:43) so, “Hallelujah for a little faith” (0:53). He encourages listeners, but more so himself, to have strength despite not “want[ing] to be here” (Beatty, 2:37), a simple yet heartfelt message. This sentiment feels like a soft summer day, the warmth of the sun wrapping listeners into a hug before encouraging them to seek solace, regardless of past lives. Closing the track, he asks, “What’s it gonna take?” (Beatty, 2:51), a question I’ve repeated ever since. “Little Faith” leaves a lasting, profound impact, prompting introspection about the resilience required to persevere.
For those interested in discovering more of Beatty’s work, I’d recommend “White Teeth,” another Calico track that captures the same silky sound found in “Little Faith.”
4. God - Tori Amos
Tori Amos released her album, Under the Pink, over 30 years ago. Although I wasn’t around to experience its debut, that’s not prevented me from forming a deep, personal connection with the record’s second track, “God.” Throughout this song, Amos blends piercing production with her mezzo-soprano vocal range, invoking a provocative and alternative sound. Her signature warbled vocals mould an unsettling foundation of dynamic modulation and thematic intrigue. The track is enhanced by Amos’ sonic choices as she questions the validity of God and his ability to function without female guidance. Amos explained her rationale behind “God” on Genius, saying, “I’ve always really questioned this whole one-guy God thing…I do think that the biblical God is an underachiever and that he needs a little help and guidance…He needs a woman.” Her lyrics reflect this sentiment, as she pointedly inquires, “God sometimes you just don’t come through / Do you need a woman to look after you?” (0:27). She further questions His sanity, wondering why He produces so many beautiful creations, before abandoning them in their time of need. During the track’s brief bridge, Amos, perplexed and pleading, asks, “Will you even tell her if you decide to make the sky fall?” (2:36). Here, layered, high-pitched vocals convey the speaker's ascension towards God, clamouring for answers. This moment is abruptly snatched away as she transitions back into the final chorus, throwing listeners back down to earth. The song concludes as it began, frustrated and forecasting women’s fate under divine, male authority. Amos showcases her subtle brilliance throughout “God”, daring to ask the question so few of us have the courage to voice.
5. I Found A Reason - The Velvet Underground
The Velvet Underground's Loaded, released in 1970, is a critically acclaimed proto-punk record that garnered high praise long after its initial release. My favourite track on the album, and my favourite by The Velvet Underground, is the tender, love song, “I Found a Reason.” The song opens with lead singer Lou Reed gently muttering, “Bah bah bah bah, bah bah bah bah” (Velvet Underground, 0:09), strengthened by a delicate instrumental backdrop. Although sonically reminiscent of bands like The Beach Boys and their classic love song, “God Only Knows,” it remains unmistakably “Underground.” Reed’s performance during the second verse features sprechstimme, a technique that blends speaking and singing, utilizing a low register to enhance the band’s signature experimental sound. However, the track’s sweetness endures, particularly during the chorus, which consists of soft harmonies and a hopeful outlook for the future: “Oh I do believe / You are what you perceive / What comes is better than what came before” (Velvet Underground, 2:19). A beautiful guitar solo follows, cementing the song’s legacy in my heart as it captures the resolve one feels when they’ve found true love. Although not lyrically dense, its simplicity is what makes the track so captivating, melding a sublime live instrumental with the profound clarity that love brings.
6. Right As The Rain (Live at the Bon Soir, et al.) - Barbra Streisand
“Right As The Rain” was performed live by the illustrious Barbra Streisand in November of 1962 at New York’s now-closed nightspot, the Bon Soir. Her album, Live At The Bon Soir, has quickly become my most cherished Streisand record, with her audience interactions spotlighting her comedic charm and charismatic presence. “Right As The Rain,” a succinct track just under three minutes, showcases Streisand’s vocal brilliance, accompanied solely by a piano. Similar to the aforementioned “I Found A Reason,” this track is melodically and lyrically simple, yet incredibly moving. Its true magic lies in Streisand’s voice, a paragon of musical talent that blends emotional depth with sonic beauty. She warmly croons, “So real, so right is our love” (Streisand, 0:26), and as her delivery builds, her voice soars with intimacy and sustain, demonstrating a phenomenal vocal talent rarely seen before or since. At the song’s peak, she belts out her love for her partner, singing, “Whatever gave my heart this song / Can’t be wrong / It’s right as the rain” (Streisand, 1:23). As the track concludes, she softens in her delivery, holding the final line seamlessly. “Right As The Rain” is a classic love song, made even more emotionally poignant through its live rendition, fostering an intimate bond between listener and performer. Streisand becomes a spotlit vision, as if one were in the audience, captivated by her voice that seems to encompass love itself.
7. Hoax - Taylor Swift
“Hoax,” the final track off of Taylor Swift’s critically acclaimed Folklore, is a beautifully written yet emotionally devastating song that captures the essence of a heartbreaking betrayal. Singing softly alongside producer Aaron Dessner’s piano, Swift mournfully announces, “Your faithless love’s the only hoax I believe in” (0:41). Her emotional delivery is poignant, as if she is tearfully pleading with both the subject and herself for relief. Swift’s strongest instrument is her pen, which she wields deftly, tugging at our hearts throughout the track’s entirety. She utters, “Don’t want no other shade of blue but you” (Swift, 1:38), a line that encapsulates the song’s permeating melancholy. As the bridge begins, the speaker evokes a deep sense of resentment and despair. Swift sings, “You knew it still hurts underneath my scars / From when they pulled me apart / But what you did was just as dark” (2:19). Her writing abilities shine through, as she effortlessly crafts these intensely emotive lyrics with seemingly simple words. The tragedy of her verse is starkly clear as she lays it out, raw and vulnerable, yet universally accessible. The song concludes with a quiet resignation, epitomized in the line, “No other sadness in the world would do” (Swift, 3:07), whispered as the sorrowful piano draws to a close. “Hoax” is narratively dense, and its lyrical genius defies simple dissection. The song’s beauty transcends mere words, and Swift’s emotive delivery demands to be heard to be truly appreciated. It’s an appallingly underappreciated track, its brilliance often overlooked by many listeners. To fully comprehend its tragedy, I recommend immersing yourself within the brilliance that is Folklore.
