here they are:
"It Takes a Lot to Know a Man" by Damien Rice: It sure does!! Wow! Didn't think Damien had it in him to do a song that surpasses the length of "Stairway to Heaven" by about a minute and a half, but this is exactly what he does in "It Takes a Lot to Know a Man". Damien's songs are typically sad, but this one takes the melodrama of his music to a whole other level! The ending lyrics of the song are when it reaches its zenith. The phrase "What are you so afraid to lose?" becomes a mantra, and leads into what is perhaps the most intense mood I've ever heard in a Damien Rice song, as his voice and the background vocals argue with each other about their innermost insecurities.
"Most In the Summertime" by Rhett Miller (featuring Black Prairie): Just in time for the coming season, this is probably one of the most upbeat songs in both Rhett Miller's catalog and Black Prairie's. It is a mellow but catchy country-rock ditty in which the lyrics concern themselves with the simple pleasures of life. Well, perhaps other kinds of "pleasures" as well, as the chorus indicates that Rhett and Jenny (Black Prairie's lead singer) have their "clothes off, hangin' on the line". But hey, that's what summer's for, isn't it?!
"Scared" by Delta Rae: "Scared", eh?! Well, perhaps the reason why is because this song is different from Delta Rae's other material in two ways. First of all, one of the men in the group sings lead vocals, unlike Elizabeth Hopkins, who usually does so, and second of all, its sound resembles the "neo-soul" of groups like Fitz and The Tantrums more than it does the folk sound of their typical material. The "scare" factor here is really the uncertainty of whether a romance is going to work out, and the song's combination of minor key and catchy beat are enough to keep you on the edge of your seat!
"Song For Someone" by U2: After the anthemic rock vibes of "The Miracle (Of Joey Ramone)" and "Every Breaking Wave", U2's third single from "Songs of Innocence", "Song For Someone", has a more laid-back and poignant feel to it. Whoever "someone" is, they must have been incredibly important to U2 for them to make such a moving song in which the lyrics tug at the heartstrings as much as the music does. The chorus of the song pretty much defines it with its opening words, "If there is a light, you can always see, and if there is a world, we can always be. If there is a dark within and without, and there is a light, don't let it go out". For those who are in touch with their sensitive side, I highly recommend this song!
"The Stars Over Your House" by Bob Schneider: Ever since Bob Schneider's adult alt radio breakthrough with "40 Dogs (Like Romeo And Juliet)", a lot of his songs have had somewhat of a moody streak, albeit laden with sentimentality in most cases, with the exception of the surprisingly hard-rocking "Unpromised Land". "The Stars Over Your House" seems like a much needed feel-good song in his catalog that he had more in his early days than the later ones. The "oh-oo-woh"s and "yea-ee-yeah"s that punctuate the verses, along with the harmony of the backing vocals, and just the chipper feel of the song in general, are all aspects that make "The Stars Over Your House" the perfect equivalent of a pop chart hit for indie fans.
"True Affection" by Father John Misty: Or as I like to call it, Father John Misty...IN SPAAAACCCE!!! FJM hasn't really used synthesized instruments in his music until now, and boy, does he use them!! The beginning of the song doesn't sound that far off from what you might hear when someone is playing an arcade game! It kinda sounds like one of the trippier Radiohead songs, in particular, songs like "Lotus Flower" and "Staircase". The song basically has only one verse that's repeated twice (with the second verse having only a slight difference in lyrical content), and it doesn't veer from its A minor chord at all, which gives the song a bit of a "static" flavor. FJM, meet LSD!
"24 Frames" by Jason Isbell: Right from the beginning of the song, you can tell it's gonna be a sad one, since the opening lyrics are "This is how you make yourself vanish into nothing". Thankfully, it's not a bleak sadness, but a bittersweet one, and Jason Isbell does an excellent job of pouring his heart and soul into "24 Frames". Its sound is reminiscent of the songs from R.E.M.'s album, "Automatic for the People", and that sound is not just coincidence. It turns out that Jason's band, Drive-by Truckers, was based in Athens, Georgia, the same town R.E.M. hails from! As for the title of the song, it is taken from how many frames roll per second during a movie, which is how life itself is portrayed in "24 Frames". Jason has truly outdone himself this time!!
"Woman (Oh Mama)" by Joy Williams: One half of folk-rock duo, The Civil Wars, Joy Williams' debut solo song is basically like a Celtic version of Depeche Mode's "Personal Jesus" in terms of how it sounds. As the title of the song implies, this is Joy's ode to the spirit of femininity. The one complaint I have about this song is that she seems to be expressing her thoughts as though she is stereotyping those who speak "broken" English, though I'm not sure if this is intentional. Each line of each verse starts with the word "woman" and is followed by a verb of some sort, which reminds me of how Cookie Monster speaks ("Me want cookie!"), or perhaps the Hulk ("Hulk smash!") Why she is choosing to speak this way, I have no idea, but I do appreciate the sentiment she has intended in the song, as well as the way it sounds.
Showing posts with label Black Prairie. Show all posts
Showing posts with label Black Prairie. Show all posts
Wednesday, May 13, 2015
Wednesday, January 16, 2013
New blog for the New Year Part 1 - Leftover from December 2012
Whew!! Had a lot of catching up to do within the past couple weeks, so much so that I missed some good ones from December that I'm just now starting to pay attention to. So here they are:
"Cut Me Some Slack" by Paul McCartney, Pat Smear (Foo Fighters), and the remaining members of Nirvana: Paul McCartney and WHO?!? I like Paul McCartney, and I like Nirvana, but putting them together is like having jalapeno flavored ice cream!! Or so I thought before I actually heard the song. Although Macca is mostly known for softer material, he can crank out a solid hard rocker every once in a while (just look at The Beatles' "Helter Skelter", which McCartney sang the lead vocals on!!) Sir Paul lets out a primal scream of angst throughout "Cut Me Some Slack". Sure, Paul's no Kurt Cobain, but he must have been channeling Kurt's spirit (or maybe John Lennon's) when he did this song. After listening to "Cut Me Some Slack", all I can say is, "I've got blisters on me fingers!!"
"Hang Loose" by Alabama Shakes: A catchy Creedence Clearwater Revival style guitar riff, Memphis soul saxophones, and raw, passionate vocals that would make Janis Joplin proud can only mean one thing. Alabama Shakes are back again!! For their third major song, "Hang Loose", they do exactly as the title says. That is to say, Brittany Howard and co just take things easy in "Hang Loose", a song that is as mellow as it is danceable and soulful. My only complaint about this song is that it's only two and a half minutes long. I wish it were longer!!
"Joy to You Baby" by Josh Ritter: The song's title might indicate "joy", but the song itself is more of a melancholy one, though I've come to expect this from Josh Ritter. It's what makes his music likable, after all. Ritter's clever lyrical imagery, however, is what makes his latest song, "Joy to You Baby", so memorable. For instance, he sings about how, when he goes to parties, he drinks "cups of who cares", and how ghosts in the graveyard float between "what is" and "what if". Of course, the song wouldn't be complete without his capoed acoustic guitar either, as that is central to both the mood and the melody of the song. "Joy to You Baby" is as lovely as it is witty, a rare, but certainly enjoyable feat in music these days!
"New Alphabet" by Eels: New alphabet?! OK!! Z Y X, W V, U T S, R Q P!! Oh wait, it's not THAT kind of "new alphabet"?! Oh. What Mark Everett (better known simply as "E") means by "new alphabet" is (probably) that he wants a new way to express himself "When the words just sound like noise", and "when the world stops making sense". Like most of The Eels' material, "New Alphabet" sounds like the kind of song Beck might do, both vocally, lyrically, and instrumentally (but keep in mind that Eels have been around since 1996, a mere three years after Beck's debut in the music scene, so it's not exactly a "rip-off"). Most of the songs Eels have done within the past couple years have a soft, almost billowy sound to them. "New Alphabet" has a bit more "meat" on it, so to speak, but it's still as melodic as ever, and it has a neat little plucked string section between the verses and chorus.
"Nowhere, Massachusetts" by Black Prairie: When it comes to country-rock, the music is usually a bit more upbeat than its plain ol' country counterpart, but Black Prairie are different than that (what else would you expect from a band whose first known song was called "How Do You Ruin Me?") Country-rock probably hasn't been this sad (and especially with such authentic sadness) since the late '60s, when The Flying Burrito Brothers did their tearjerker of a song, "Hot Burrito # 1". "Nowhere, Massachusetts" is even sadder than that, at least in terms of its lonesome, homesick sound. The acoustic guitar and vocals at the beginning are already bittersweet enough, and it only gets more so from there, especially with the sighing violin in the song. This was the very last "new" song I heard in 2012, so I guess it's only fitting that it sounds like a "goodbye song".
"The John Wayne" by Little Green Cars: THE John Wayne?! Not sure why there's an article preceding the title, because it makes it sound like the latest dance craze (as in, "Come on everybody, let's do The John Wayne!") However, "The John Wayne" is FAR from a dance craze. It is, instead, a bittersweet sounding song about how it's "easy to fall in love", and the dangers that come with doing so. The title of the song comes from how the lead singer feels "shot down" (as though he's in a John Wayne movie) by the one he has fallen in love with. More melancholia?! Sounds like more music for me to become enamored with!!
"Two Fingers" by Jake Bugg: Aside from his last name, one of the most memorable things about Jake Bugg is that he's only 18 years old!! He sounds like he's in his late 20's or early 30's, but he isn't, and he's also British (take THAT, One Direction!!) It's also pretty easy to get the impression that Jake probably enjoys his parents' music more than that of his own generation, since he sounds like a cross between The Beatles and Bob Dylan. "Two Fingers" is also a very deep and somewhat depressing song, lyrically. No one I know of has written a song like this in their teens since Jackson Browne did with "These Days" when he was only a year younger than Jake!
"Cut Me Some Slack" by Paul McCartney, Pat Smear (Foo Fighters), and the remaining members of Nirvana: Paul McCartney and WHO?!? I like Paul McCartney, and I like Nirvana, but putting them together is like having jalapeno flavored ice cream!! Or so I thought before I actually heard the song. Although Macca is mostly known for softer material, he can crank out a solid hard rocker every once in a while (just look at The Beatles' "Helter Skelter", which McCartney sang the lead vocals on!!) Sir Paul lets out a primal scream of angst throughout "Cut Me Some Slack". Sure, Paul's no Kurt Cobain, but he must have been channeling Kurt's spirit (or maybe John Lennon's) when he did this song. After listening to "Cut Me Some Slack", all I can say is, "I've got blisters on me fingers!!"
"Hang Loose" by Alabama Shakes: A catchy Creedence Clearwater Revival style guitar riff, Memphis soul saxophones, and raw, passionate vocals that would make Janis Joplin proud can only mean one thing. Alabama Shakes are back again!! For their third major song, "Hang Loose", they do exactly as the title says. That is to say, Brittany Howard and co just take things easy in "Hang Loose", a song that is as mellow as it is danceable and soulful. My only complaint about this song is that it's only two and a half minutes long. I wish it were longer!!
"Joy to You Baby" by Josh Ritter: The song's title might indicate "joy", but the song itself is more of a melancholy one, though I've come to expect this from Josh Ritter. It's what makes his music likable, after all. Ritter's clever lyrical imagery, however, is what makes his latest song, "Joy to You Baby", so memorable. For instance, he sings about how, when he goes to parties, he drinks "cups of who cares", and how ghosts in the graveyard float between "what is" and "what if". Of course, the song wouldn't be complete without his capoed acoustic guitar either, as that is central to both the mood and the melody of the song. "Joy to You Baby" is as lovely as it is witty, a rare, but certainly enjoyable feat in music these days!
"New Alphabet" by Eels: New alphabet?! OK!! Z Y X, W V, U T S, R Q P!! Oh wait, it's not THAT kind of "new alphabet"?! Oh. What Mark Everett (better known simply as "E") means by "new alphabet" is (probably) that he wants a new way to express himself "When the words just sound like noise", and "when the world stops making sense". Like most of The Eels' material, "New Alphabet" sounds like the kind of song Beck might do, both vocally, lyrically, and instrumentally (but keep in mind that Eels have been around since 1996, a mere three years after Beck's debut in the music scene, so it's not exactly a "rip-off"). Most of the songs Eels have done within the past couple years have a soft, almost billowy sound to them. "New Alphabet" has a bit more "meat" on it, so to speak, but it's still as melodic as ever, and it has a neat little plucked string section between the verses and chorus.
"Nowhere, Massachusetts" by Black Prairie: When it comes to country-rock, the music is usually a bit more upbeat than its plain ol' country counterpart, but Black Prairie are different than that (what else would you expect from a band whose first known song was called "How Do You Ruin Me?") Country-rock probably hasn't been this sad (and especially with such authentic sadness) since the late '60s, when The Flying Burrito Brothers did their tearjerker of a song, "Hot Burrito # 1". "Nowhere, Massachusetts" is even sadder than that, at least in terms of its lonesome, homesick sound. The acoustic guitar and vocals at the beginning are already bittersweet enough, and it only gets more so from there, especially with the sighing violin in the song. This was the very last "new" song I heard in 2012, so I guess it's only fitting that it sounds like a "goodbye song".
"The John Wayne" by Little Green Cars: THE John Wayne?! Not sure why there's an article preceding the title, because it makes it sound like the latest dance craze (as in, "Come on everybody, let's do The John Wayne!") However, "The John Wayne" is FAR from a dance craze. It is, instead, a bittersweet sounding song about how it's "easy to fall in love", and the dangers that come with doing so. The title of the song comes from how the lead singer feels "shot down" (as though he's in a John Wayne movie) by the one he has fallen in love with. More melancholia?! Sounds like more music for me to become enamored with!!
"Two Fingers" by Jake Bugg: Aside from his last name, one of the most memorable things about Jake Bugg is that he's only 18 years old!! He sounds like he's in his late 20's or early 30's, but he isn't, and he's also British (take THAT, One Direction!!) It's also pretty easy to get the impression that Jake probably enjoys his parents' music more than that of his own generation, since he sounds like a cross between The Beatles and Bob Dylan. "Two Fingers" is also a very deep and somewhat depressing song, lyrically. No one I know of has written a song like this in their teens since Jackson Browne did with "These Days" when he was only a year younger than Jake!
Saturday, December 1, 2012
Have A Holly Jolly Hipster Christmas - special blog dedicated to "Holidays Rule"!!
I don't normally post on days other than Wednesday, but the new CD "Holidays Rule", showcasing mostly contemporary folk-rock and indie-pop, has soooo many good songs that would just be too much to blog about if I added them into another blog entry for non-Christmas/non-holiday related songs! There actually too many songs on this CD to be covering in one entry, so I'll be reviewing my personal faves from the CD today. So here goes! Hope you like it!!
"Auld Lang Syne" by Andrew Bird: Ever the quirky indie musician, Mr. Bird has decided not to choose a Christmas related song, and opt for a New Year's one instead! And his arrangement of it is...ummm...interesting!! Instead of being sung with reverence, it is treated more like a jaunty, honky-tonk song! No Andrew Bird song is complete without a string section instrument, but Bird continues to surprise his listeners by choosing a fiddle this time instead of a violin or cello like he usually does. It's also pretty impressive that Andrew Bird knows more than just the first verse of "Auld Lang Syne", since most people (including myself) only remember that verse!
"Baby It's Cold Outside" by Rufus Wainwright and Sharon Van Etten: The ultimate boy/girl duet Christmas song is performed this year by eclectic music extraordinaire Rufus Wainwright and angst-ridden folk-rocker Sharon Van Etten. Presented only with piano and vocals, Rufus and Sharon deliver an endearing duet (in which Rufus, as always, steals the show) that is bound to make one curl up inside with a cup of hot cocoa by the fireplace with his/her loved one. Van Etten's nearly deadpan vocal delivery provides an intriguing contrast with Wainwright's expressively operatic vocals, but they still manage to make it work! If only Zooey Deschanel didn't perform this song TWICE (once with Will Ferrell and another with M. Ward), I'd opt for her to sing the "girl" parts of this song, but otherwise, well worth the listen!
"Blue Christmas" by Heartless B*st*rds: A band whose name is both a curse word and an insult doesn't exactly seem like one that would be in the Christmas spirit, does it?! Surprise! Erika Wennerstrom is no Grinch! However, she did choose a more brokenhearted holiday song for "Holidays Rule", "Blue Christmas", a song that I initially thought had only been done by Elvis Presley, but has been covered by many others ever since. The HB's give "Blue Christmas" a melancholy country-rock treatment, complete with a sighing, twangy guitar solo in the middle. A big ol' heart melter, like most of the "Holidays Rule" songs, but that's why I like it!
"(Everybody's Waitin' For) The Man With the Bag" by Black Prairie: With a title that's a clear reference to Santa Claus, you'd think a song like this would be pretty energetic. And it is! But...not at first. The first 30 seconds or so of "Man With the Bag" build up suspense to a song that soon begins to sound like The Decemberists got taken over by Feist leading a band of jolly little elves! A surprisingly fun song for a band whose only known song so far is called "How Do You Ruin Me?" This could land Black Prairie a guest spot on "Yo Gabba Gabba" if they're not careful, heheh.
"Green Grows the Holly" by Calexico: Not one of the obvious Santa/Rudolph type Christmas songs, but it's songs like Calexico's "Green Grows the Holly" that adds a bit of diversity in subject matter to the "Holidays Rule" song collection. A very mournful holiday song, too, but not without a unique, Calexico-style horn solo in the middle of it to make it perk up, if only for a minute. Calexico are typically more lively than they are on this acoustic-guitar-and-horns-only track. Where I would normally envision a Calexico song taking place around the Mojave Desert in the middle of summer in the afternoon, this one seems more to take place around dusk, near winter, with holly and ivy growing in place of the cacti.
"I Heard the Bells On Christmas Day" by The Civil Wars: John and Joy turn a solemn Christmas song into a more charming one simply by using their signature harmonies to make the song complete, but the sentiments of requesting peace on Earth and good will to men in a world of cynical people are still there. Accompanied only by acoustic guitar, The Civil Wars show, once again, how their brand of quiet is the new loud, enough to make listeners stop and become entranced by both the mellifluous melodies and universally uplifting utterances of their take on an old Christmas fave.
"It's Beginning to Look A Lot Like Christmas" by Fruit Bats: The formerly cheery Christmas song, "It's Beginning to Look A Lot Like Christmas", gets a makeover from indie-folk-rockers Fruit Bats, with a sound that's halfway between a classic country song and Hawaiian music. Though The Bats have made this song lose some of the pep it once had, it is not completely without its bouncy beat. It's not as though Fruit Bats have added minor chords in place of the major ones, that's still a part of the song in this version. It's beginning to look a lot like Christmas, but more like the kind of Christmas you'd want to spend inside your house, and not outside in a mall.
"O Come, O Come, Emmanuel" by Punch Brothers: An interesting selection for "Holidays Rule", and an even more interesting version! Among the recent "bluegrass-rock" boom, Punch Brothers are probably one of the few (if not the only) band of the bunch that could be considered "progressive bluegrass", since their verses and choruses are often in completely different keys to one another. They continue to demonstrate this oddly amazing talent in their take on "O Come, O Come, Emmanuel", one of those songs that, "keeps the 'Christ' in 'Christmas'", so to speak, as its title and subject matter are both references to Jesus. Punch Brothers do not lose an ounce of reverence in their rendition of "O Come, O Come, Emmanuel", in terms of both vocal and instrumental quality. Perhaps this means that Punch Brothers are "brothers" in more ways than one might expect?!
"Sleigh Ride" by fun.: I have truly underestimated fun. With each song they release, their instrumental talents continue to impress me more and more. With the combination of "modern" instruments (like synths), and more "traditional" ones (like violins and flutes) all set to a giant indie-pop wall of sound, this version of "Sleigh Ride" could have been done by Arcade Fire with the exact same arrangement (but with different vocals, obviously)!! It even dips into psychedelic, echo-y territory a la "Tomorrow Never Knows" by The Beatles towards the end of it! I think fun. are gliding through more than just a wonderland of snow in their version of "Sleigh Ride". They are gliding through a wonderland of SOUND!! Now that's what I call "ear candy"!
"The Christmas Song" by Paul McCartney: Sir Paul must be quite overwhelmed that he is both performing a song AND having a song he originally did covered by someone else ("Wonderful Christmastime") on the same album!! Macca's arrangement of the time-honored Christmas tune that begins with descriptions of "chestnuts roasting on an open fire" and "Jack Frost nipping at your nose" is not a bad one, but a B effort, or perhaps even a C one, in comparison to the Nat King Cole version I'm used to hearing. It must also feel weird for Paul to be the only "classic rock" musician on a record of mostly indie-pop musicians of the '00s and 2010's. Perhaps that's why his efforts feel only so-so on "The Christmas Song", but this IS a song that seems to be good, regardless of who's singing it.
"What Are You Doing New Year's Eve?" by The Head and The Heart: Aside from Andrew Bird's contribution to "Holidays Rule", this is the only post-Christmas December related song on the CD. I realize just now that this is The Head and The Heart's first major song with romantic sentiments attached to it. Their topics previously revolved around homesickness ("Lost In My Mind"), being a world weary traveler ("Down In the Valley"), and speculations about the paranormal ("Ghosts"). So how do The Head and The Heart fare at choosing more personal subject matter into their music?! Quite effectively, if I do say so myself. The song carries a sweet, but not sappy, message of hope to spend New Year's Eve with one's significant other, and is perfect for a cozy, warm, stay-at-home December.
"Wonderful Christmastime" by The Shins: And last, but not least, it's Paul McCartney! Ummm...I mean...The Shins COVERING Paul McCartney! Kind of. James Mercer's love of The Beach Boys is more obvious in this version of McCartney's signature Christmas tune than his love of The Beatles, what the "Good Vibrations"-ish organ to start off the song. The lyrics get either goofed up or added on to at certain parts, so it doesn't exactly feel like a sincere cover, but those who prefer have their holiday tunes sound more psychedelic than plain ol' happy might get a kick out of this version.
"Auld Lang Syne" by Andrew Bird: Ever the quirky indie musician, Mr. Bird has decided not to choose a Christmas related song, and opt for a New Year's one instead! And his arrangement of it is...ummm...interesting!! Instead of being sung with reverence, it is treated more like a jaunty, honky-tonk song! No Andrew Bird song is complete without a string section instrument, but Bird continues to surprise his listeners by choosing a fiddle this time instead of a violin or cello like he usually does. It's also pretty impressive that Andrew Bird knows more than just the first verse of "Auld Lang Syne", since most people (including myself) only remember that verse!
"Baby It's Cold Outside" by Rufus Wainwright and Sharon Van Etten: The ultimate boy/girl duet Christmas song is performed this year by eclectic music extraordinaire Rufus Wainwright and angst-ridden folk-rocker Sharon Van Etten. Presented only with piano and vocals, Rufus and Sharon deliver an endearing duet (in which Rufus, as always, steals the show) that is bound to make one curl up inside with a cup of hot cocoa by the fireplace with his/her loved one. Van Etten's nearly deadpan vocal delivery provides an intriguing contrast with Wainwright's expressively operatic vocals, but they still manage to make it work! If only Zooey Deschanel didn't perform this song TWICE (once with Will Ferrell and another with M. Ward), I'd opt for her to sing the "girl" parts of this song, but otherwise, well worth the listen!
"Blue Christmas" by Heartless B*st*rds: A band whose name is both a curse word and an insult doesn't exactly seem like one that would be in the Christmas spirit, does it?! Surprise! Erika Wennerstrom is no Grinch! However, she did choose a more brokenhearted holiday song for "Holidays Rule", "Blue Christmas", a song that I initially thought had only been done by Elvis Presley, but has been covered by many others ever since. The HB's give "Blue Christmas" a melancholy country-rock treatment, complete with a sighing, twangy guitar solo in the middle. A big ol' heart melter, like most of the "Holidays Rule" songs, but that's why I like it!
"(Everybody's Waitin' For) The Man With the Bag" by Black Prairie: With a title that's a clear reference to Santa Claus, you'd think a song like this would be pretty energetic. And it is! But...not at first. The first 30 seconds or so of "Man With the Bag" build up suspense to a song that soon begins to sound like The Decemberists got taken over by Feist leading a band of jolly little elves! A surprisingly fun song for a band whose only known song so far is called "How Do You Ruin Me?" This could land Black Prairie a guest spot on "Yo Gabba Gabba" if they're not careful, heheh.
"Green Grows the Holly" by Calexico: Not one of the obvious Santa/Rudolph type Christmas songs, but it's songs like Calexico's "Green Grows the Holly" that adds a bit of diversity in subject matter to the "Holidays Rule" song collection. A very mournful holiday song, too, but not without a unique, Calexico-style horn solo in the middle of it to make it perk up, if only for a minute. Calexico are typically more lively than they are on this acoustic-guitar-and-horns-only track. Where I would normally envision a Calexico song taking place around the Mojave Desert in the middle of summer in the afternoon, this one seems more to take place around dusk, near winter, with holly and ivy growing in place of the cacti.
"I Heard the Bells On Christmas Day" by The Civil Wars: John and Joy turn a solemn Christmas song into a more charming one simply by using their signature harmonies to make the song complete, but the sentiments of requesting peace on Earth and good will to men in a world of cynical people are still there. Accompanied only by acoustic guitar, The Civil Wars show, once again, how their brand of quiet is the new loud, enough to make listeners stop and become entranced by both the mellifluous melodies and universally uplifting utterances of their take on an old Christmas fave.
"It's Beginning to Look A Lot Like Christmas" by Fruit Bats: The formerly cheery Christmas song, "It's Beginning to Look A Lot Like Christmas", gets a makeover from indie-folk-rockers Fruit Bats, with a sound that's halfway between a classic country song and Hawaiian music. Though The Bats have made this song lose some of the pep it once had, it is not completely without its bouncy beat. It's not as though Fruit Bats have added minor chords in place of the major ones, that's still a part of the song in this version. It's beginning to look a lot like Christmas, but more like the kind of Christmas you'd want to spend inside your house, and not outside in a mall.
"O Come, O Come, Emmanuel" by Punch Brothers: An interesting selection for "Holidays Rule", and an even more interesting version! Among the recent "bluegrass-rock" boom, Punch Brothers are probably one of the few (if not the only) band of the bunch that could be considered "progressive bluegrass", since their verses and choruses are often in completely different keys to one another. They continue to demonstrate this oddly amazing talent in their take on "O Come, O Come, Emmanuel", one of those songs that, "keeps the 'Christ' in 'Christmas'", so to speak, as its title and subject matter are both references to Jesus. Punch Brothers do not lose an ounce of reverence in their rendition of "O Come, O Come, Emmanuel", in terms of both vocal and instrumental quality. Perhaps this means that Punch Brothers are "brothers" in more ways than one might expect?!
"Sleigh Ride" by fun.: I have truly underestimated fun. With each song they release, their instrumental talents continue to impress me more and more. With the combination of "modern" instruments (like synths), and more "traditional" ones (like violins and flutes) all set to a giant indie-pop wall of sound, this version of "Sleigh Ride" could have been done by Arcade Fire with the exact same arrangement (but with different vocals, obviously)!! It even dips into psychedelic, echo-y territory a la "Tomorrow Never Knows" by The Beatles towards the end of it! I think fun. are gliding through more than just a wonderland of snow in their version of "Sleigh Ride". They are gliding through a wonderland of SOUND!! Now that's what I call "ear candy"!
"The Christmas Song" by Paul McCartney: Sir Paul must be quite overwhelmed that he is both performing a song AND having a song he originally did covered by someone else ("Wonderful Christmastime") on the same album!! Macca's arrangement of the time-honored Christmas tune that begins with descriptions of "chestnuts roasting on an open fire" and "Jack Frost nipping at your nose" is not a bad one, but a B effort, or perhaps even a C one, in comparison to the Nat King Cole version I'm used to hearing. It must also feel weird for Paul to be the only "classic rock" musician on a record of mostly indie-pop musicians of the '00s and 2010's. Perhaps that's why his efforts feel only so-so on "The Christmas Song", but this IS a song that seems to be good, regardless of who's singing it.
"What Are You Doing New Year's Eve?" by The Head and The Heart: Aside from Andrew Bird's contribution to "Holidays Rule", this is the only post-Christmas December related song on the CD. I realize just now that this is The Head and The Heart's first major song with romantic sentiments attached to it. Their topics previously revolved around homesickness ("Lost In My Mind"), being a world weary traveler ("Down In the Valley"), and speculations about the paranormal ("Ghosts"). So how do The Head and The Heart fare at choosing more personal subject matter into their music?! Quite effectively, if I do say so myself. The song carries a sweet, but not sappy, message of hope to spend New Year's Eve with one's significant other, and is perfect for a cozy, warm, stay-at-home December.
"Wonderful Christmastime" by The Shins: And last, but not least, it's Paul McCartney! Ummm...I mean...The Shins COVERING Paul McCartney! Kind of. James Mercer's love of The Beach Boys is more obvious in this version of McCartney's signature Christmas tune than his love of The Beatles, what the "Good Vibrations"-ish organ to start off the song. The lyrics get either goofed up or added on to at certain parts, so it doesn't exactly feel like a sincere cover, but those who prefer have their holiday tunes sound more psychedelic than plain ol' happy might get a kick out of this version.
Wednesday, November 14, 2012
13 Songs On A Dead Man's Chest (A.K.A. Flood of Songs After the Drought)
THIRTEEN!? Most I've ever had so far!! So, without further ado, let's begin!!
"Carry On" by fun.: "If you're lost and alone, and sinking like a stone, carry o-o-o-o-on!!" So begins the chorus of the latest song from the somewhat aptly named band, fun. This is probably their most sensitive, most melodic song yet, and for that reason, I can't help but like it! Though the song itself is kinda dark in terms of its lyrics, it still has quite an uplifting, almost inspirational chorus, reminding its listeners to stay strong through the good times and the bad. Nate Ruess and co sure have come a long way since the far more pop-y "We Are Young", and I hope they will continue to strengthen their sound and their lyrics in the future!
"Encyclopedia of Classic Takedowns" by A.C. Newman: The New Pornographers were always a quirky band, in spite of how their name might sound (it was actually taken from something someone said about how music is the "new pornography"). That being said, it only makes sense that their lead singer would come up with a song where even the TITLE sounded quirky! I mean, how many songs do you know of have titles that even sound CLOSE to "Encyclopedia of Classic Takedowns" (try saying THAT five times fast!)?! I sure don't! (Then again, this IS the same guy who came up with even weirder song titles like "Sing Me Spanish Techno"). The song itself is quirky, power pop-y fun at its best! A happy song with bubbly harmonies and a weird title?! Only A.C. and The New Pornographers!!
"Good Times" by Matt Costa: Matt Costa doesn't seem to get enough credit for how eclectic (and clever) he truly is! He seemed to have been pegged as a singer/songwriter type based on how his debut song, "Cold December" sounded, but he has expanded his repertoire ever since to include Donovan-esque psychedelic pop ("Witchcraft") and "Pet Sounds"-ish orchestral beauties ("Drive"). His latest song, "Good Times", takes on a sound that illustrates a combination of folk-rock guitars and triumphant trumpets, a bit like Feist's "1234", as well as practically any song from Edward Sharpe and The Magnetic Zeros. Don't be fooled by how happy "Good Times" sounds, though, as even its chorus sings about how "Good times are comin' to an end". The dichotomy "Good Times" has between its fluffy sound and cynical lyrics only make me love the song more, though!
"Harder Before It Gets Easier" by The David Wax Museum: With the surprise success of records from people like Paul Simon and Robbie Robertson last year, it only makes sense that there would be someone this year that would carry on the rock-music-meets-world-music torch. It's not an older musician, though, or even a well-known one, at that. This year's ethnic rock experience comes from The David Wax Museum, a band that is, perhaps, unlike any other from 2012! Instead of relying on folk-rock or power pop, like most 2010's bands seem to do, The David Wax Museum create a lush musical soundscape based on African rhythms and mariachi instrumentation. To top it all off, at the center of the DWM's breakthrough song, "Harder Before It Gets Easier", is its chorus, which reminds people that sometimes you need to experience tougher times in your life in order to get to what you really want!
"Heartbeat" by The Kopecky Family Band: Of the many bands I'm reviewing this week, none of them seem to put the "pop" in "indie pop" quite like The Kopecky Family Band! Their debut song, "Heartbeat", has it all! Irresistibly bubblegum-y harmonies, handclaps at the beginning, a catchy, memorable chorus, purposely ridiculous lyrics (e.g. "you make my heartbeat beat a beat"), you name it! "Heartbeat" is the perfect song to dance around in your room to when no one's watching!
"How Do You Ruin Me?" by Black Prairie: And now we move from a goofy, lighthearted band to a more somber one. Even this song's title, "How Do You Ruin Me?" sounds melancholy, and the song itself is, too. With its sighing string section, G minor key, and world-weary vocals, "How Do You Ruin Me?" is one of those songs you'd want to put on during a rainy day to elicit emotions of both sadness and sympathy. It is a tale of unrequited love that expresses the pain and sorrow we probably all feel inside when going through such a phase. Call it a case of schadenfreude if you will, but what is "ruining" the singer brings me a sense of pleasure, but the pleasure derives from knowing that I'm not the only one who has felt cheated or let down in a relationship.
"I've Got This Friend" by The Civil Wars: It's been over a year since John Paul Williams and Joy White first became successful as folk-pop duo, The Civil Wars, yet there is still one song from their debut album that has JUST begun to receive airplay on adult alt radio stations, and that song is "I've Got This Friend". "I've Got This Friend" provides quite a contrast from the blues-y stomp of "Barton Hollow" and the bittersweet "Poison And Wine". There is nothing very bitter, or even bittersweet, about "I've Got This Friend", in fact it's kind of a cute song, if I dare say so! John and Joy take turns telling each other about these "friends" that they have during the song, though, upon listening to the lyrics, it becomes apparent that John and Joy are actually telling each other about...well...each other! However, they are doing so in a way that suggest a precious, almost naive sense of romance. Can I have another "d'awwww"?!
"Mojo Fix" by Martin Harley: A "review-come-lately" here, as this song has been around since late August of this year, but it doesn't seem like it's gotten decent airplay until around the past couple of weeks, so I thought maybe now would be a good time to review it instead. On with the song, though, doesn't even the title of the song "Mojo Fix" sound kinda blues-y?! Well, that's because it is, and a mighty fine blues song at that! With its chugging hook, raw vocals, and saucy slide guitar licks, "Mojo Fix" is enough to satisfy anyone's mojo!!
"Nancy From Now On" by Father John Misty: You probably wouldn't expect such a downhearted song from a guy with a quirky moniker, who put out esoteric songs like "I'm Writing A Novel", but keep in mind that "Father John Misty" is actually the alias of the ex-drummer of melancholy folk-rock kings, Fleet Foxes, and "Nancy From Now On" will probably make a little more sense. Even the opening lyrics, "Pour me another drink, and punch me in the face" are enough to depress a lot of Misty's listeners. "Nancy" is also not the name of a girl in this song, but rather, a derogatory name that Misty uses to refer to himself, perhaps suggesting that he is "weak" in some way. The chord changes and piano arrangement in this song remind me of people like Rufus Wainwright. Perhaps Rufus and Father John are pals?! Wouldn't surprise me. Also, I detect a huge Harry Nilsson influence in this song, so to describe Misty as the lovechild of Nilsson and Rufus Wainwright would be a great way of summing him up!
"River" by Civil Twilight: As I read the comments for this song on YouTube, many people seem to think that this sounds like a Radiohead song, and it does (it lifts pretty heavily from "Jigsaw Falling Into Place", in particular). Though "River" will never hold a candle to Radiohead, it's still a good song in its own right! It is probably Civil Twilight's best song, actually, given how it centers mostly around acoustic guitar instead of keyboards, the latter of which is a more typical instrument for Civil Twilight. The lead singer of Civil Twilight tends to nail Thom Yorke's vocal intonations, and the swooning backing vocals wouldn't sound too out of place in a Radiohead song either. However, this is Civil Twilight, not Radiohead. Still, it wouldn't hurt Civil Twilight to continue going in a neo-folk-rock direction!
"So Beautiful" by The Dunwells: Along with the Martin Harley song, "Mojo Fix", this song is another "review-come-lately" for me, I guess partly because this song pales in comparison quite significantly to The Dunwells' Mumford-esque song, "I Could Be A King", from earlier this year. However, I decided to give "So Beautiful" another chance, and I'm glad I did, because, although it isn't nearly as good as "I Could Be A King", it is still a good song, and it stuck in my head after the second time I heard it, so I knew it was a good one. It still has a somewhat Mumford-and-Sons-ish sound, but it sounds more like M & S being backed by the '70s soft rock group, America (the solos in the song sound like they were performed in a similar distortion to America's "Sister Golden Hair"). Still worth listening to, though.
"Time to Run" by Lord Huron: And last, but certainly not least, is the hypnotically folk-rock-y "Time to Run", from Lord Huron, a band who are slowly but surely getting more attention than I thought they would! This song is like a dream to me, and I don't mean that in a corny, metaphorical way. I mean that it's literally like a dream! It starts off with an orchestra of echoing wind chime type percussion that goes on for about a minute, before settling into its mellow, entrancing groove that takes hold of the rest of the song, as though one is falling asleep, and then settling into his/her dream for the rest of the night. This song is one dream I don't want to wake up from!!
"Carry On" by fun.: "If you're lost and alone, and sinking like a stone, carry o-o-o-o-on!!" So begins the chorus of the latest song from the somewhat aptly named band, fun. This is probably their most sensitive, most melodic song yet, and for that reason, I can't help but like it! Though the song itself is kinda dark in terms of its lyrics, it still has quite an uplifting, almost inspirational chorus, reminding its listeners to stay strong through the good times and the bad. Nate Ruess and co sure have come a long way since the far more pop-y "We Are Young", and I hope they will continue to strengthen their sound and their lyrics in the future!
"Encyclopedia of Classic Takedowns" by A.C. Newman: The New Pornographers were always a quirky band, in spite of how their name might sound (it was actually taken from something someone said about how music is the "new pornography"). That being said, it only makes sense that their lead singer would come up with a song where even the TITLE sounded quirky! I mean, how many songs do you know of have titles that even sound CLOSE to "Encyclopedia of Classic Takedowns" (try saying THAT five times fast!)?! I sure don't! (Then again, this IS the same guy who came up with even weirder song titles like "Sing Me Spanish Techno"). The song itself is quirky, power pop-y fun at its best! A happy song with bubbly harmonies and a weird title?! Only A.C. and The New Pornographers!!
"Good Times" by Matt Costa: Matt Costa doesn't seem to get enough credit for how eclectic (and clever) he truly is! He seemed to have been pegged as a singer/songwriter type based on how his debut song, "Cold December" sounded, but he has expanded his repertoire ever since to include Donovan-esque psychedelic pop ("Witchcraft") and "Pet Sounds"-ish orchestral beauties ("Drive"). His latest song, "Good Times", takes on a sound that illustrates a combination of folk-rock guitars and triumphant trumpets, a bit like Feist's "1234", as well as practically any song from Edward Sharpe and The Magnetic Zeros. Don't be fooled by how happy "Good Times" sounds, though, as even its chorus sings about how "Good times are comin' to an end". The dichotomy "Good Times" has between its fluffy sound and cynical lyrics only make me love the song more, though!
"Harder Before It Gets Easier" by The David Wax Museum: With the surprise success of records from people like Paul Simon and Robbie Robertson last year, it only makes sense that there would be someone this year that would carry on the rock-music-meets-world-music torch. It's not an older musician, though, or even a well-known one, at that. This year's ethnic rock experience comes from The David Wax Museum, a band that is, perhaps, unlike any other from 2012! Instead of relying on folk-rock or power pop, like most 2010's bands seem to do, The David Wax Museum create a lush musical soundscape based on African rhythms and mariachi instrumentation. To top it all off, at the center of the DWM's breakthrough song, "Harder Before It Gets Easier", is its chorus, which reminds people that sometimes you need to experience tougher times in your life in order to get to what you really want!
"Heartbeat" by The Kopecky Family Band: Of the many bands I'm reviewing this week, none of them seem to put the "pop" in "indie pop" quite like The Kopecky Family Band! Their debut song, "Heartbeat", has it all! Irresistibly bubblegum-y harmonies, handclaps at the beginning, a catchy, memorable chorus, purposely ridiculous lyrics (e.g. "you make my heartbeat beat a beat"), you name it! "Heartbeat" is the perfect song to dance around in your room to when no one's watching!
"How Do You Ruin Me?" by Black Prairie: And now we move from a goofy, lighthearted band to a more somber one. Even this song's title, "How Do You Ruin Me?" sounds melancholy, and the song itself is, too. With its sighing string section, G minor key, and world-weary vocals, "How Do You Ruin Me?" is one of those songs you'd want to put on during a rainy day to elicit emotions of both sadness and sympathy. It is a tale of unrequited love that expresses the pain and sorrow we probably all feel inside when going through such a phase. Call it a case of schadenfreude if you will, but what is "ruining" the singer brings me a sense of pleasure, but the pleasure derives from knowing that I'm not the only one who has felt cheated or let down in a relationship.
"I've Got This Friend" by The Civil Wars: It's been over a year since John Paul Williams and Joy White first became successful as folk-pop duo, The Civil Wars, yet there is still one song from their debut album that has JUST begun to receive airplay on adult alt radio stations, and that song is "I've Got This Friend". "I've Got This Friend" provides quite a contrast from the blues-y stomp of "Barton Hollow" and the bittersweet "Poison And Wine". There is nothing very bitter, or even bittersweet, about "I've Got This Friend", in fact it's kind of a cute song, if I dare say so! John and Joy take turns telling each other about these "friends" that they have during the song, though, upon listening to the lyrics, it becomes apparent that John and Joy are actually telling each other about...well...each other! However, they are doing so in a way that suggest a precious, almost naive sense of romance. Can I have another "d'awwww"?!
"Mojo Fix" by Martin Harley: A "review-come-lately" here, as this song has been around since late August of this year, but it doesn't seem like it's gotten decent airplay until around the past couple of weeks, so I thought maybe now would be a good time to review it instead. On with the song, though, doesn't even the title of the song "Mojo Fix" sound kinda blues-y?! Well, that's because it is, and a mighty fine blues song at that! With its chugging hook, raw vocals, and saucy slide guitar licks, "Mojo Fix" is enough to satisfy anyone's mojo!!
"Nancy From Now On" by Father John Misty: You probably wouldn't expect such a downhearted song from a guy with a quirky moniker, who put out esoteric songs like "I'm Writing A Novel", but keep in mind that "Father John Misty" is actually the alias of the ex-drummer of melancholy folk-rock kings, Fleet Foxes, and "Nancy From Now On" will probably make a little more sense. Even the opening lyrics, "Pour me another drink, and punch me in the face" are enough to depress a lot of Misty's listeners. "Nancy" is also not the name of a girl in this song, but rather, a derogatory name that Misty uses to refer to himself, perhaps suggesting that he is "weak" in some way. The chord changes and piano arrangement in this song remind me of people like Rufus Wainwright. Perhaps Rufus and Father John are pals?! Wouldn't surprise me. Also, I detect a huge Harry Nilsson influence in this song, so to describe Misty as the lovechild of Nilsson and Rufus Wainwright would be a great way of summing him up!
"River" by Civil Twilight: As I read the comments for this song on YouTube, many people seem to think that this sounds like a Radiohead song, and it does (it lifts pretty heavily from "Jigsaw Falling Into Place", in particular). Though "River" will never hold a candle to Radiohead, it's still a good song in its own right! It is probably Civil Twilight's best song, actually, given how it centers mostly around acoustic guitar instead of keyboards, the latter of which is a more typical instrument for Civil Twilight. The lead singer of Civil Twilight tends to nail Thom Yorke's vocal intonations, and the swooning backing vocals wouldn't sound too out of place in a Radiohead song either. However, this is Civil Twilight, not Radiohead. Still, it wouldn't hurt Civil Twilight to continue going in a neo-folk-rock direction!
"So Beautiful" by The Dunwells: Along with the Martin Harley song, "Mojo Fix", this song is another "review-come-lately" for me, I guess partly because this song pales in comparison quite significantly to The Dunwells' Mumford-esque song, "I Could Be A King", from earlier this year. However, I decided to give "So Beautiful" another chance, and I'm glad I did, because, although it isn't nearly as good as "I Could Be A King", it is still a good song, and it stuck in my head after the second time I heard it, so I knew it was a good one. It still has a somewhat Mumford-and-Sons-ish sound, but it sounds more like M & S being backed by the '70s soft rock group, America (the solos in the song sound like they were performed in a similar distortion to America's "Sister Golden Hair"). Still worth listening to, though.
"Time to Run" by Lord Huron: And last, but certainly not least, is the hypnotically folk-rock-y "Time to Run", from Lord Huron, a band who are slowly but surely getting more attention than I thought they would! This song is like a dream to me, and I don't mean that in a corny, metaphorical way. I mean that it's literally like a dream! It starts off with an orchestra of echoing wind chime type percussion that goes on for about a minute, before settling into its mellow, entrancing groove that takes hold of the rest of the song, as though one is falling asleep, and then settling into his/her dream for the rest of the night. This song is one dream I don't want to wake up from!!
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