New songs for October 5th, 2022

 here they are:


"Do I Love You? (Indeed I Do)" by Bruce Springsteen: A few weeks after the Boss's late September birthday, he releases a song that's not actually his. "Do I Love You? (Indeed I Do)" was originally done by soul musician, Frank Wilson, in 1965, but Bruce makes it his own here! Even into his septuagenarian years, the Boss still proves once and for all why people call him that! No other performer in their 70's has quite the energy and dynamism Bruce does, and he makes the soul classic he's covering here sound just as invigorating as it must have been when it first came out! Do we love the Boss? Indeed, we do!

"Go Through You" by Rhett Miller: "Go Through You" sees Old 97's singer Rhett Miller at his most George Harrison-esque. The late Beatle has inspired a lot of songs he's done, both solo and with the 97's, but there's something especially Beatlesque about this one. In "Go Through You," Rhett combines George's trademark twang with Paul McCartney's brightness and chord progressions. In true Rhett fashion, "Go Through You" is about a jaded lover in a relationship gone wrong, contrasting with the song's bright, sunny sound. The most lyrically interesting aspect of this song is probably during the chorus where he says, "If I'm gonna get to Heaven, I'm gonna have to go through you." The capitalization of the "H" in "Heaven" in the lyrics suggest something of a religious nature, but the "you" remains lowercase, so the song is not about God or Jesus, but perhaps Rhett is making something of an oblique comparison in these lyrics. Perhaps he feels like a martyr to his lover, thereby evoking quasi-religious imagery. 

New songs for October 6th, 2021

 here they are:


"Rushing Water" by Sting: Rock and roll birthday boy, Sting, who celebrated the big 7-O four days ago, has opted to go less New Age and more New Wave once again, just as he did in 2016. His latest song, "Rushing Water," has a very Andy Summers-ish guitar sound, even though Summers does not appear anywhere in the song. The beat of the song and the muted-palm guitar sound are somewhat reminiscent of "Every Breath You Take," albeit slightly less ominous. The former Police-man came up with the idea to "Rushing Water" during the height of the coronavirus pandemic, attempting to write a song that could help to patch up the many areas that have divided us as a society. Another interesting thing to note about this song is that some of the lyrics highlight Sting's roots in Catholicism, with biblical references woven within such as the Book of Numbers and the story of Jonah getting swallowed by a whale.

"Telepath" by Manchester Orchestra: If Manchester Orchestra's song "Bed Head" from earlier this year had a bit too much of a rock sound for a band previously known best for the indie-folk ballad, "The Gold," then perhaps "Telepath" will be more to your liking. The song is even more acoustic guitar driven than "The Gold" was, and twice as emotional to boot. The song seems to be about a relationship that the lead singer knows is destined to fail, yet he pines for it anyway. The chorus of the song manifests in three different ways. First, the singer asks the object of his affections if she wants him, then if she loves him, and finally, if she's with him? The answer, each time, is no. To admit defeat is not an easy thing to do, perhaps even more so in the context of a relationship, but Manchester Orchestra not only do so here, but they do so with dignity.

"Wasted Days" by John Mellencamp and Bruce Springsteen: Two legends in the classic rock subcategory of "Heartland rock," Mellencamp and Springsteen both started out as scrappy, determined rock stars who became more politically focused and folk-y as their careers went on. Both performers are now in their early 70's (with Mellencamp celebrating a birthday tomorrow), and their first notable collaboration, "Wasted Days," takes a bittersweet look at life from a seasoned, septuagenarian perspective. Their advanced age is actually what "Wasted Days" seems to be about, with both singers asking just how many moments are left in their musically fulfilled lives. With both Mellencamp and Springsteen having been rock stars since the 1970's, it's truly a miracle that they're still able to celebrate life today. To paraphrase another aging, folksy rock star, "May they stay forever young"!

"Write A List of Things to Look Forward To" by Courtney Barnett: I'm wondering if the title of this song is supposed to be a joke. It's only two and a half minutes long, and Courtney really doesn't lay out a "list" of things for us to look forward to, or any list at all, really. The entire song seems shrouded in irony, though this is hardly surprising for a performer as sardonic as Courtney. "Nobody knows why we keep trying," "a baby is born as a man lay dying," and "We did our best, but what does that even mean?" are just some of the pearls of not-quite-wisdom that she shares in this song. Almost seems like a song about someone who's just about to give up on life. Please don't go, Courtney! You have so many years ahead of you! Yeah I know...she's probably just venting here, but still...

New songs for June 23rd, 2021

 here they are: 


"Colorado" by Milky Chance: German alt-pop duo, Milky Chance, are like the 21st century indie equivalent to Jimmy Buffett in some ways. Where Buffett was big on booze, Milky Chance prefer pot, but both bring tropical, breezy, summertime vibes to their respective drugs of choice. References to weed can be spotted in more than one Milky Chance song, perhaps most notably the "stoned in paradise" line from their first and biggest hit, "Stolen Dance." This time around, Milky Chance are "getting high like Colorado." What does that mean exactly?! Well, obviously, it means getting into a drug-induced state that (supposedly) mellows you out while impairing your sense of judgment...but why Colorado?! More than likely, they chose to sing about the state since it was one of the first states to legalize recreational use of marijuana. Sex, drugs, and not-quite-rock-and-roll strikes again, folks!

"Dustland" by The Killers (featuring Bruce Springsteen): Two years before I even did this blog on a regular basis is when the following song originally came out. However, this version is a new spin on what is now an old song, featuring a guest appearance from one of Brandon Flowers' biggest idols, Bruce Springsteen! Going a half-step lower than the original track, but maintaining its sense of urban melodrama a la Bruce, "Dustland" might not be everyone's taste, but it must have been a dream-come-true for Brandon Flowers! Bruce makes various appearances both on lead vocals and backing vocals during the song. It makes sense, then, that the original "A Dustland Fairytale," as it was known when it initially came out, was written during Brandon's "Bruce phase," which was most prominent on the Killers' second and third albums. Lines like "saw Cinderella in a party dress/she was looking for her nightgown," "straight to the Valley of the Great Divide," and "in the cadence of a young man's eyes" are just some of the many Springsteen-ian lines from the song. Other than Bruce's vocal appearances and the choice to play the song a half-step down from the original, there's really no difference between "Dustland" and "A Dustland Fairytale," but for anyone who enjoys bittersweet, earnest roots-rock with a slight U2-ish tinge to it, "Dustland" is still worth checking out!

"Hush" by The Marias: There is actually only ONE person named Maria (and only one woman out of the four members of group) in The Marias. Now that I've gotten that out of the way, "Hush," the breakthrough song for electro-pop quartet, The Marias, is an icy yet catchy song that basically serves as a "screw-you" to Maria's ex. Appropriately, the word "hush" is spoken in a hushed tone, but make no mistake. She's not saying that word to soothe anyone. Instead, it's basically a code word for, "Forget you!" Amidst grinding, slightly disquieting mechanical yet mellifluous instrumentation, Maria Zardoya seductively whisper-sings a tale of love gone wrong, attempting to lure the listener in right as she's about to tell them off!


"The Angel of 8th Avenue" by Gang of Youths: Fitting to their name, Gang of Youths are a very youthful group! At least, that's the vibe I get from listening to their latest song, "The Angel of 8th Avenue." The song sounds a bit like New Order's "Age of Consent" if it had more acoustic guitars as backing instruments, though its topic is nowhere near as controversial. Quite the opposite of New Order's icy cold, starkness, actually, and is instead about the simpler yet warmer theme of falling in love and moving to another city. GOY's lead singer David Le'aupepe also has a lot more energy and passion in his voice than the more monotone, deadpan vocals of New Order's Bernard Sumner. 

"What You Say" by Cold War Kids: Musically, this song is nothing new for Cold War Kids. It's an upbeat indie-pop song that relies mostly on electronic instrumentation with electric guitar as its main backing instrument. What makes this song stand out from other CWK songs is its message. The song is about the desire some of us have to be accepted just as we are. CWK have covered a lot of topics in their material, but I don't recall that being one of their subjects. Anyway, everyone wants someone who loves them, flaws and all, and this is the perfect song for that, as far as songs from 2021 are concerned so far!

New songs for January 27th 2021

 here they are:


"All My Favorite Songs" by Weezer: This is a rather unusual song for Weezer! It's one of the few songs where they don't have any guitar! However, according to Rivers Cuomo's lyrics, there is a reason for this. Supposedly, "all (his) favorite songs are slow and sad." So is the case with "All My Favorite Songs." The song itself is slow and sad. It is written in C sharp minor, is dominated by cello instead of guitar, and manages to make the quirky but edgy punk-pop of Weezer classics like "Buddy Holly" and "Undone (The Sweater Song)" sound like heavy metal in comparison! "All My Favorite Songs" seems to serve as an unofficial "sequel" song to Weezer's surprisingly bittersweet and ultra-soft 2008 song, "Heart Songs." In contrast to the complete sincerity of "Heart Songs," though, "All My Favorite Songs" is somewhat self-deprecating, with Rivers claiming during the chorus that he "doesn't know what's wrong with him"!

"Call Me A Fool" by Valerie June: A sweeping, haunting neo-soul tune, "Call Me A Fool" might be sung by a millennial musician, but it is none other than 1960's R & B legend, Carla Thomas, providing the opening spoken word part: "Only a fool tests the depths of the water with both feet." Valerie, in response, kicks off the song with the four titular words, "call me a fool," twice. Why is she a "fool," exactly? Well, it's because she's fallen for a person who has used her, but she likes them anyway, in a way that's more than just friendly. Somehow, I feel like this is the perfect kind of song for Valentine's Day of this year, which will be coming up shortly!

"Ghosts" by Bruce Springsteen: In fall of last year, Bruce made a grand return to adult alt radio with "Letter to You," a sweet, heartfelt song that recalled vintage Bruce songs from the 1970's. With "Ghosts," the vintage Bruce sound continues, albeit on a much grander scale! The spirited, lively tone of this epic, five-and-a-half-minute song sounds like it was made for the arenas! (There'd better BE arenas sometime this year!) Unlike what its title might suggest, "Ghosts" is not about a dead person or people, but rather a metaphor for how music makes Bruce feel! The comparison here is that, much like a ghost, Bruce is haunted (in a good way) by the sound of music. Bruce, someday, when you're a ghost yourself, I hope to feel the same way you do when you hear music! One more thing I might add. The ghost of Clarence, the Big Man himself, appears to permeate this song towards the end of it! It's probably his son, Jake, playing sax during that part! 

"Waiting on a War" by Foo Fighters: If you thought "Shame Shame" from fall of last year was too "soft" for a Foo Fighters song, then this song might disappoint you even more. However, for the people who enjoy the softer side of Dave and the boys, like me, "Waiting on a War" is an excellent, haunting track! The song is their folkiest since the days of the acoustic version of "Everlong" and the equally haunting, "Walking After You"...well, until the end of it, that is, although even that part still retains the sense of sweet melody and harmony the song starts with. Since the song did come out during autumn of the tumultuous and unpredictable year of 2020, the lyrics to "Waiting on a War" are heavily reflective of just how torn apart the U.S. (and arguably the rest of the world, to a degree) had become by that point. The title of the song comes about from how Dave Grohl wonders throughout the song whether there is more to life than just "waiting on a war." There's never any definitive proof of an answer to this, but he seems to lean towards the more hopeful side, as the song is attempting to spread a message of peace and love amongst a nation (and planet) of war-torn citizens!

New songs for the day before Thanksgiving 2020

 here they are:


"Basement Tapes" by Semisonic: Semisonic surprised us all in summer of this year with the ultra-catchy "You're Not Alone," a major hit on adult alt radio stations and perhaps the catchiest they've had since "Closing Time" almost two decades ago! Can Semisonic outdo the one-hit wonder curse once again this time of year?! Who knows?! Their next single, "Basement Tapes," tells us that may be so! In a song that sounds like a cross between Third Eye Blind and The Killers, Dan Wilson and co weave a tale about what Semisonic themselves have become for many people: nostalgia. Only this particular nostalgia goes before the '90s and back to the early '70s with an excellent lyrical reference to Big Star, the patron saints of power pop. The song also seems to be about living the rock and roll lifestyle, with the opening lyrics discussing the prospect of getting "loaded" in a van, and later lyrics pointing out various destinations in the U.S. where they've traveled to. 

"Chinatown" by Bleachers (featuring Bruce Springsteen): And speaking of the rock star lifestyle, who better to embody that than Bruce Springsteen?! The Boss has more in common with Bleachers' Jack Antonoff than one might think. In addition to both being musicians, they're also both New Jersey natives! In "Chinatown," a contemporary Jersey boy meets his legendary Jersey hero and gets the opportunity to sing with him! Influence from The Boss was evident on a few Bleachers songs, particularly the '80s Bruce vibes of Bleachers' "Rollercoaster," but it comes out even more here! "Chinatown" romanticizes city life like a typical Bruce song from the early days...except Bruce didn't write it! He must be awfully proud of the people he has influenced!

"Figure It Out" by Blu DeTiger: As much as I try to avoid apps like TikTok, there are some times I can't help but be dragged into it, despite not even having an account on the site. Such is the case with our next song, Blu DeTiger's "Figure It Out." It is yet another song to gain popularity from the app, as many have this year. With its seamless blend of funk and contemporary pop, "Figure It Out" appears to be about a relationship in limbo, in which the object of Blu's affections doesn't know whether he wants to be with her or not. 

"Let Me Love You Like A Woman" by Lana Del Rey: Can you believe it's been almost a decade that Lana Del Rey has had a career as a musician by now?! Within nearly ten years, Lana has gone from curious newcomer flirting with the rock star lifestyle to world weary musician wanting to retreat into a world of her own insecurities. Each LDR song and album seems to be more personal than the other (with the possible exception of her cover of Sublime's "Doin' Time," since it isn't actually hers.) There was something quite haunting and vaguely Leonard Cohen-esque about her last single, "Mariner's Apartment Complex." In "Let Me Love You Like A Woman," she bares her soul like never before. Here, she invites the listener to take a vacation from the glitz and glamour of L.A. and into a world of fragile, introverted love. Sometimes I want to escape into a very similar world to that which I hear being presented within the song, so I feel like I can relate to this one!

New songs for September 16th, 2020

 here they are:


"Be A Rebel" by New Order: I'll be honest. I have mixed feelings about New Order. I think "Ceremony", "Age of Consent", and "Regret" are all great songs, while bigger New Order hits like "Blue Monday" and "Bizarre Love Triangle" really didn't impress me very much. As a guitarist, I'm sort of biased towards the "guitar side" of otherwise synth-y groups like New Order. Their first song in what seems like decades, "Be A Rebel", goes more towards the synth side. However, I can also see why adult alt radio stations have gravitated towards it. For a synth track, it is also very chill. "Be A Rebel", contrary to its title, is the type of track that can provide a sense of ambiance in a pleasant enough atmosphere. Lyrically, it is one of a growing number of songs from 2020 that rail against the anger and depression the world has suffered through lately. It has mostly good lyrics, although "be a rebel, not a devil" sounds like clumsy writing coming from one of the most respected groups in the history of British alternative rock!

"Cyr" by The Smashing Pumpkins: And here is another synth-rock tune from a much revered alt-rock band! Those of you who want another "1979" or "Today" will probably be disappointed, as "Cyr" isn't very much of a guitar rock song. However, longtime fans of The Pumpkins will probably know that Billy Corgan was just as influenced by synth-driven new wave music as he was by hard, electric guitar based rock (and to a lesser extent, folk-rock). Not only does the music sound like Depeche Mode, but the lyrics do too, with their cryptic yet spooky sounding references, employing the use of icy vocabulary like "the whorl" and "the void." I guess this is yet another reason for "pumpkins" to be symbolic of Halloween!

"Letter to You" by Bruce Springsteen: If the last two reviews have made you lose your faith in guitar rock, leave it to The Boss himself to revitalize your faith! With a message as heartfelt as his classic mid-to-late 1970's songs, and composed in that style as well, "Letter to You" is a song attempting to reach out to people warmly during our puzzling, pandemonium-inducing pandemic. There is no particular person Springsteen had in mind when he wrote this song. It's a message to all his fans to make sure they're feeling alright. As a longtime Bruce fan, I just want to say, thank you for the message! We, the fans, appreciate it immensely! No complaints here, except Clarence's son, Jake, is somehow absent from this track. Any Bruce track that attempts to be a throwback to the '70s should have a sax player on it somehow! Oh well...the song is still a lovely and well-needed message during a time of crisis!

"My Vibe" by Mt. Joy: Of the Mt. Joy songs I've heard so far, this is probably the track that really emphasizes the "joy" part of their name the best! It's a quirky, goofy, lighthearted track that sounds like it could have easily been a "Sgt. Pepper" outtake (albeit with millennial indie-rock elements woven within). As Paul McCartney himself might say, "My Vibe" is basically a silly love song...in a good way, though! There are no heavy motives or symbolism behind this song. It's just an excuse to let loose and have fun!

"Visitor" by Of Monsters and Men: Somehow, just the title of this song alone sounds somewhat chilling! Lyrically, it kind of is! Nanna Hilmarsdottír, one of the two lead singers of OMAM, describes what it is like to become a "visitor" in this song - in other words, feeling disconnected from a world that is on the brink of change where what was once familiar has now vanished. Sound familiar? This song was actually done one month prior to the pandemic's worldwide spread, but OMAM do seem to agree that the song's chilly, distant vibe fit in eerily well with a world affected by coronavirus. Hopefully this is what coronavirus itself will end being...a visitor! I can't express enough how I want to get back into the world I used to know!

New songs for May 1st 2019

here they are:


"Don't Ever Let 'Em" by Fitz and The Tantrums: Within a decade's time, Fitz and The Tantrums have gone from being Motown wannabes to being...well...just another indie-pop band. The song's message of positivity seems a little bland too, but that's not a bad thing. The song only lasts a little over two and a half minutes, but it seems to suit the song well. One of the few songs from FATT's catalog that doesn't have a fast, catchy beat. Instead, this one has a slow, catchy beat. Still a nice song to mellow out to, though.


"Hello Sunshine" by Bruce Springsteen: The title of The Boss's much anticipated latest song might be happy, but "Hello Sunshine" is actually a very sad song. The title is actually a plea from Springsteen for good times to get him through what is currently a rather depressing time in his life. A few years ago, Bruce opened up and told people he was battling depression and had been for a long time. "Hello Sunshine" is the result of this. A beautifully orchestrated, bittersweet song whose roots are more Johnny Cash than they are "Johnny B Goode", "Hello Sunshine" bares its emotions for all to see during a time when sadness seems to have hit a lot of us pretty hard.

New songs for the day before Thanksgiving 2013

here they are:


"Afterlife" by Arcade Fire: Win Butler's orchestral indie-pop group are really going for ambitious songs this time around, aren't they?! Their "Reflektor" was 7 and a half minutes long, and their next big song for 2013, "Afterlife", is 6 minutes!! As its title indicates, "Afterlife" deals with death, specifically the loss of someone who was very important to one of the members' lives (though they never specify who). Not quite the meandering song "Reflektor" was, but it still has that sort of "progressive indie" feel to it. The final minutes of the song serve as its "grieving stage", during which Win Butler repeats the mantra, "It's just an afterlife", possibly for reassurance that everything will turn out alright for him.


"High Hopes" by Bruce Springsteen: When it comes to The Boss's material from the 21st century, it's definitely a mixed bag. He seems to like going for passionate, world weary ballads these days, but "High Hopes" is a rocker!! (Well, kinda) It features fiery electric guitar playing from Rage Against the Machine's Tom Morello (complete with soloing in the middle), attempting to battle it out with the song's backing acoustic guitar. As with many of Springsteen's contemporary songs, "High Hopes" is a song that revolves around political angst. The song becomes even more triumphant during the chorus, with its brass instruments breaking down the angry walls of this song into a jubilant celebration! My "high hopes" go towards The Boss himself, to crank out more good tunes like this one!! I think he can still hang in there for quite a while!


"Little Games" by The Colourist: I haven't heard many indie/alt groups channel the spirit of Michael Hutchence (from INXS) quite so well as I have with this song!! Over a 1980's style drumbeat, an electric guitar roars loud enough both to rock and to make people dance, in The Colourist's "Little Games"! The smooth, suave vocals of the song also seem somewhat Hutchence inspired (though not nearly as high). "Little Games" is about cheating in a relationship, but with the song's super catchy vibe, you'd probably never know!!


"Love Like This" by Kodaline: Before I get started with this one, the name of this Irish indie-folk group is pronounced "KO-duh-line" (not "KO-duh-leen", as I originally thought it was). Perhaps the song's opening mandolin-ish sound makes it obvious they're Irish?! The harmonica makes it sound more like a Dylan or Springsteen song, though, both of whom, of course, are American. Kodaline's songs seem to all be love songs so far ("love like this won't last forever" is the chorus of this song, and their other big song, "All I Want", is about the longing to feel loved by someone). Their folk-rock sound has me drawn to their material regardless, though, it just makes them seem like such a calm, down-to-earth sorta band!

New songs for September 26th, 2012

here they are:


"Blood Red Youth" by California Wives: California Wives are a band whose name does not indicate who they are. They are neither from California (they are Chicagoans) nor are they wives (all the members are dudes). Their sound recalls the best gloomy but shimmering alt-rock from days of yore, particularly groups like The Cure and Radiohead, though the chugging, anthemic nature of "Blood Red Youth" is probably closer to groups like U2. Lyrically, "Blood Red Youth" is very angst-ridden and detached, (esp. the opening words to the second verse, "When information's out and your head's full of light/And they serve you a drink, like you hope they might") which seems to fit the mood of the song itself. Not since the days of "Love Will Tear Us Apart" and "How Soon Is Now?" has depression sounded so powerful in a song!!


"If Only" by Dave Matthews Band: In "If Only", DMB continues in the direction of the bittersweet folk-rock of their previous single, the massively successful "Mercy". Unlike "Mercy", though, "If Only" deals with more personal problems, rather than being a cry for help to the whole world. "If Only" seems to be about Dave being afraid to admit the insecurities he had in whatever relationship he was in at the time he wrote this song. Quite an interesting turnaround for Mr. Matthews, who used to be quite the seducer (as evidenced by his two biggest hits, "Crash Into Me" and "Crush"). Guess that means Dave is growing up. Not a bad thing, though, especially since he is able to keep up his trademark jazzy folk-rock sound even without his former sax player LeRoi Moore.


"Land of Hope and Dreams" by Bruce Springsteen: Considering that The Boss's birthday was just a couple days ago, it seems like my review for his latest song, "Land of Hope and Dreams" has come right on time! At six and a half minutes, this song seems like it would be one of Bruce's more "epic" tracks. It might not be "Jungleland" or "Born to Run", but I can tell that Bruce put a lot of thought and effort into "Land of Hope and Dreams". Aside from the almost Mumford-and-Sons-ish "Death to My Hometown", "Land of Hope and Dreams" is probably my favorite song The Boss has done in 2012!! Although it is a political song lyrically, like pretty much every song on his latest CD, "Land of Hope and Dreams" is a more uplifiting, almost spiritual composition in comparison to the angst and dissatisfaction on songs like, say, "We Take Care of Our Own". This song is well worth the listen, I say!


"Mountain Sound" by Of Monsters and Men: Iceland's answer to Mumford and Sons had one of the most successful songs of late last year and the early to middle parts of this year with the surprisingly catchy "Little Talks". So how do OMAM follow it up?! With the similarly Celtic folk-rock-y song "Mountain Sound", which, like "Little Talks", also brings to mind older folk-rockers like The Mamas and The Papas, with its vocal section being traded off between the male singers and female singers of the band. Having never heard any successful Icelanders in the music world aside from Bjork, I have to say that OMAM sound more like they're from Ireland (or perhaps Scotland) than Iceland. The lyrics of the song, which include phrases like, "Alone we traveled on nothing but a shadow", as well as the chorus's "Through the woods we ran, deep into the mountain sound", almost seem like they'd be quite fitting in a movie like "Brave", since it both centers around epic adventure and takes place (largely) in a European woodland area.

Eleven songs!!! (For the first time in over a year!!)

How exciting!!! Who knew this many songs would come up during the first half of 2012?!? Well, I'm sure glad they did!! Anyway, here they are:


“California” by Delta Spirit: Well, at least I THOUGHT this was Delta Spirit. Sounds more like the latest Killers song, though. Is it really such a bad move for the typically Springsteen-goes-indie sound of Delta Spirit to suddenly veer towards a more new wave-y sound?! Well, yes and no. I personally think Delta Spirit should have stuck to their usual sound because it just suits them better! However, The Deltas were probably thinking ahead when they made this song in terms of wanting to gain a larger audience. The songs “Bushwick Blues” and “Golden State” from their last album, “History From Below” seemed to get Delta Spirit more of a taste of the limelight than anything from their debut album, “Ode to Sunshine”, so if they’re doing a flashy song with dueling synths and guitars like “California”, it’s probably because they enjoyed the surprise success of their last album and they want to move forward from there! I like “California”, but it’s also a disappointment in comparison to the other Delta Spirit songs I know.

“Caught Me Thinking” by Bahamas: Before “Caught Me Thinking”, all I knew from Bahamas was a cover of the lone Christmas song from folk-rock legends, The Band, “Christmas Must Be Tonight”. That being said, I was curious to know what Bahamas sounded like otherwise. Turns out their sound (at least for “Caught Me Thinking”) is very similar to their name, in that the smooth vibe of the song, combined with the echo-y distortion of its electric guitar, evoke a pleasantly “island-y” image, much like the actual island of Bahamas would. The mellow surf-rock feel of “Caught Me Thinking” provides perfect juxtaposition for its break-up-song lyrics, and it also seems as though the lead singer of Bahamas is trying to trick us with the title of the song, which is not mentioned, and instead, the words “GOT me thinking” are sung in the chorus. The title is not a mistake, though, it has been listed as “Caught Me Thinking”, and not “Got Me Thinking” everywhere I’ve seen it posted, which is in quite a few places by now.

“Downward Facing Dog” by moe.: This song is a long overdue release that has been on the adult alt radio airwaves since November, but sadly, I wasn’t able to find a decent copy of it until last week! It’s a good song, though. It also makes me curious to know if every underrated “jam band” besides Phish needs to go for a somewhat ‘70s hard-rock-ish sound in order to make their big breakthrough as musicians. Widespread Panic’s “North” sounded like Lynyrd Skynyrd, and it has been their biggest hit so far, and Umphrey’s McGee’s “Miami Virtue” had a Pink Floyd/Rush type sound and has been their only song CLOSE to a hit so far! “Downward Facing Dog” is the closest that the jam band formerly known as Five Guys Named Moe has gotten to a “classic rock” sound, specifically recalling the Southern blues-y rock sounds of bands such as ZZ Top and The Black Crowes. Moe. are usually a jazzier, more freeform band than how they come off as on “Downward Facing Dog”. Another aspect that makes this song interesting is that it slows down its tempo in the middle. “Downward Facing Dog” is a good song, I just wish that “jam bands” like moe. could be accepted more as jam bands than as “classic rock revival” bands.

“Easy Come, Easy Go” by Great Lake Swimmers: Great Lake Swimmers have been a fave among indie fans for quite awhile now. “Easy Come, Easy Go” marks the first time that The Swimmers have finally gotten noticed (slightly) beyond their core audience! It doesn’t seem too different than the typical indie song, though. That, however, is a GOOD thing for bands that were previously relative unknowns like Great Lake Swimmers, in that, instead of compromising their sound to reach a more “mainstream” audience, they have kept it just the way it is! The acoustic guitars, violins, and soothing vocals create a dreamy atmosphere surrounding “Easy Come, Easy Go”. A combination like that is already enough to win me over, but the fact that Great Lake Swimmers are staying loyal to their fanbase in terms of their sound earns “Easy Come, Easy Go” an extra bonus point!

“Eyeoneye” by Andrew Bird: Andrew Bird has always been somewhat of an oddity, even in the indie rock world! For starters, his song titles are…well…different, to say the least. His most popular song so far, “Fitz and The Dizzyspells” sounds more like the name of a band than the name of a song, andthetitletohislatestsonghasthewordsallsmooshedtogetherintoonewordaswell. He also uses unusual instrumentation, like violins (which take on a quality all their own in his songs), and pretty much every Andrew Bird song features him whistling. “Eyeoneye” is just one more touch of weirdness in the Andrew Bird catalog, in which he seems to be attempting his own version of punk rock (which comes out sounding a bit like a cross between The Velvet Underground and the ‘60s psychedelic rock group, Love). Not only are the guitars (slightly) amped up on “Eyeoneye”, but so is the angst of the lyrics (opening with a snide, sarcastic, “Go ahead and congratulate yourself”), and the way they are delivered. “Eyeoneye” might not sit quite comfortably with most Andrew Bird fans, but it’s fine with me. Andrew Bird is just one of those musicians who does what he does, and manages to sound good no matter what!

“Hurry Hurry” by Jessie Baylin: “Hurry Hurry” is one of those songs that sounds a lot older than it actually is! It comes off like somewhat of a “sequel” to old bossa nova songs like “The Girl From Ipanema”, and Jessie Baylin’s smooth, billowy, yearning vocals only add to the nostalgia factor of this song! I was expecting a folk-rock or singer/songwriter influenced sound to this song, but instead I got a cross between bossa nova and the female equivalent to “vocal” singers like Frank Sinatra and Tony Bennett. This wasn’t a letdown for me, though, in fact, quite the opposite! Seems like the type of song that might be on during a romantic, candle-lit dinner. Didn’t think I was going to hear anything like that during the 21st century, but something in me tells me it’s a good thing I did!

“I Could Be A King” by The Dunwells: What if Mumford and Sons decided to cover The Sundays’ bittersweet alt-pop classic, “Here’s Where the Story Ends”? Well, it would probably end up sounding a lot like “I Could Be A King”, the first major song from neo-folk-rockers The Dunwells. It uses the same uniquely styled “G” chord that “Here’s Where the Story Ends” used, yet the bluegrass-y sound of the guitar and banjo, as well as the low yet reedy vocals of the lead singer both bring to mind bands like Mumford and Sons. “I Could Be A King” sounds like a song that is as yearning as it is playful, and the lyrics to the song, in which the singer fantasizes about being a king, a poet, and a superhero, among other things, seem to justify that it is both a quirky and poetic song. That being said, this song is an instant winner for me!

“Jealous Girl” by Ben Kweller: In “Jealous Girl”, Ben Kweller sticks to the music he does best, melodic, somewhat Beatlesque power pop with angst-ridden lyrics on the side. Though the title alone to this song indicates negativity, Ben is clever enough here to disguise it as a high-spirited, happy pop song. The backing “ooh-ooh” vocals, the bright piano sound, the song’s major key, and even Ben’s intentional stuttering on the letter “J” in the word “jealous” all help to make “Jealous Girl” seem like it came straight out of the British Invasion (even though Ben Kweller is actually American). This song seems like it would make the perfect song to listen to in the spring and/or summertime, so why Ben chose to release it during winter is beyond me. I’m so glad he did, though!

“Moonshine” by My Pet Dragon: The name of this band alone was enough to tell me this song was probably pretty cool!! I mean, it sounds like the name of some obscure children’s book (and it very well could have been – the indie group Tilly and The Wall named themselves after a children’s book by Leo Lionni). “Moonshine” is a pretty cool song, just like I thought it would be! Of course, that’s not just because the name of the band that did it is called “My Pet Dragon”. It’s also because of the melodic vocals of the lead singer and the shimmering, glistening sound of the guitar! The title of the song might sound like something pretty, but don’t be fooled. The “moonshine” in this song is actually the name of an alcoholic beverage. Still, that doesn’t prevent me from thinking about how truly awesome this song is!

“Strike the Motion” by Mike Doughty: Perhaps I shouldn’t be too surprised that this is a somewhat rockin’ song (albeit with acoustic guitars as the main instrument) by the typically folk-y Mike Doughty, since he started out in the alternative rock outfit, Soul Coughing, but this sounds like a fast paced and somewhat angst-y song for Mike! It still retains the typical Doughty-isms, like odd but clever wordplay (take, for instance, the assonance used in the ending lyrics, “ferocious commotion, you choked, you got lockjaw”), but even that sounds scathing coming from the normally composed Doughty (notice I utilized the same technique for assonance that he did for the words “normally”, “composed”, and “Doughty” used consecutively!!) Still, a little bit of snarky never hurt anyone, especially if it is from someone known for being tongue-in-cheek like Mike Doughty!

“We Take Care of Our Own” by Bruce Springsteen: Much like “The Rising”, inspired by the 9/11 attacks from about a decade earlier, “We Take Care of Our Own” is also an anthem of political frustration from The Boss, most likely about the “Occupy” movement. This, of course, is not a new subject for Springsteen. What is new, however (and quite tragic) is that his sax man, Clarence Clemons, died last year, so there are none of the trademark sax solos typically featured in Springsteen’s material on “We Take Care of Our Own”. Bruce’s best work, to me, was in the 1970’s. His combination of jazz, folk, soul, and rock, along with his often narrative, poetic lyrical stances, was quite fresh and exciting in terms of the music that came out during that time! After that, his music often leaned towards either arena rock (most of the Born In the U.S.A. album), or soft rock that lacked the intensity of his work in the ‘70s (an exception being the sublimely ethereal “Secret Garden”, perhaps one of his most poignant songs ever recorded). The only song of his so far that has even come close to what he did in the ‘70s is the joyously hard-rockin’ “Radio Nowhere” from 2007. Sure, “The Rising” was a great attempt at raising political awareness, and it was a powerful song, but it lacked the spark and showmanship of songs like “Born to Run” and “Rosalita”. I feel similarly about “We Take Care of Our Own”. It’s a good song with a dynamic message, but the rollicking, swept away feeling of his songs of olden days just isn’t there. Perhaps I should expect this since Bruce is pushing 60 by now, but it just doesn’t feel the same to me!

New songs for Jan. 19th, 2011

here they are:

"Ain't Good Enough For You" by Bruce Springsteen: If you're a fan of both the music from "Grease" AND Springsteen (I count myself among those fans), then this is the song for you! The youthful, energetic vibe of this song really recaptures not only the swingin' beat of many '50s rock songs, but also even lyrically in some parts (like the call-and-response "whoa-oh-ho-hoh"s and "little darlin'"s in the chorus!!) The masking of sexual frustration over a toe-tappin' rhythm make it seem all the more like a '50s rock song, as many songs in "Grease" were kinda like this (come to think of it, the whole MOVIE was, really). Here's to yet another sign of The Boss gettin' back to his roots!

"Give Me Something" by Scars On 45: There were a couple songs like this one last year, and two of them just happened to make my Top 20 of the year ("New Morning" by Alpha Rev and "Take Everything" by Greg Laswell). There's something about "romantic" sounding Britpop (i.e. Oasis, Travis, Snow Patrol, etc.) type material that I seem to like! Perhaps it's just so sincere and heartfelt that it just tugs at the ol' heartstrings. It doesn't always work, though (Alpha Rev's "Phoenix Burn", for instance, I found a bit dull for my tastes). So what makes "Give Me Something" work for me?! Perhaps the guitars sound a bit like a cross between Travis and Death Cab for Cutie in this song, both of whom I like, and it also sounds like Scars on 45's lead singer is more focused on delivering a positive message than focusing on trying to make a "hit".

"Mine Smell Like Honey" by R.E.M.: What, ANOTHER new R.E.M. song?!? But there was just one last month!! I'm a bit surprised this one's a hard-rockin' song, too, like their effort from last month, "Discoverer". Perhaps their album "Collapse Into Now" will be their new "Monster" (the one that featured "Bang And Blame" and "What's the Frequency Kenneth?") The brand of "hard rock" (or, more aptly, power pop) that R.E.M. use for this song is a bit more of a fast-paced Matthew Sweet/"edgier" Gin Blossoms type sound than it is the more straight-ahead classic rock influence of "Discoverer", though. R.E.M. seem to want to steer away from their more "sensitive" side with their latest two songs, and "Mine Smell Like Honey" makes that especially clear with its garbled lyrics (which Michael Stipe probably made sound that way on purpose!) Well, one thing is clear, though, R.E.M. are back and ready to rock out!!

"Pill" by Edie Brickell: Most people remember Edie for being a one-hit wonder for her vibrant, unique, almost Rickie Lee Jones-ish late '80s tune, "What I Am". Adult alt radio has focused on her work a little bit more, though. Some of such stations might also play her more depressing, somewhat Fleetwood Mac-ish "Circle", and in '05 a more pleasant sounding folk-pop-y song called "Rush Around" became a minor hit, too (I didn't like "Rush Around" that much, though). I've gotta say, though, I was pleasantly surprised when I heard "Pill", which evokes such indie songstresses as Neko Case and Beth Orton (almost reminds of some of Rickie Lee Jones' newer material). Perhaps wanting to fulfill more of an "indie" image, Brickell seems to almost deliver the chorus ("They've got a pill for that") in a somewhat deadpan, sarcastic sort of manner.

"Shell Games" by Bright Eyes: Conor Oberst and co continue to have their talent shine in this tune!! For awhile, they seemed to take a more Petty/Springsteen based "roots-rock" approach, but for their longtime "indie" fans, Bright Eyes are back!! "Shell Games" starts out with a melancholy piano, and then turns into a full-on indie tune with the pianos, synthesizers, and electric guitars dueling with each other! No this doesn't mean they've reached "arena rock" proportions, but they've added a bit more of an Arcade Fire/later Wilco/Phoenix type sound to their music this time. So THIS is probably why they're headlining Coachella's second day with Mumford and Sons and Arcade Fire. They're in that kind of company once again!

"That's Some Dream" by Good Old War: One of the shortest songs I've reviewed in awhile (about 2 and a half minutes), but still worth listening to. GOW manage to squeeze in all the neo-folk-rock bliss they can within such a short amount of time, so much so that the entire SONG feels like "some dream". It's also interesting to note that the title is only mentioned at the very end of the song (perhaps to evoke the feel that this song goes by faster than expected, like a dream). I made a comparison of Good Old War to Simon and Garfunkel the last time I reviewed them ("My Own Sinking Ship" - July '10), and it seems even MORE apt on this one, with the "lie-lie-lie, la-la-lie"s in the chorus, perhaps borrowed straight from "The Boxer".

"This Is Why We Fight" by The Decemberists: For the original generation of folk-rockers not satisfied with the more emotionally centered topics of the "neo-folk-rock" boom of indie musicians, it might help to know that Colin Meloy and his unusually large band are not afraid to address political issues like Woody and Arlo Guthrie's songs, "Eve of Destruction, Neil Young's songs, and the early Bob Dylan tunes did. The title alone seems to indicate grim, war-related subject matter, and indeed it does. This is not the first time The Decemberists have addressed political topics, though, as "16 Military Wives" was a critical attack on news programs and the American political system in general, and The Decemberists even made a guest appearance on "The Colbert Report" at one time! The bluegrass-meets-folk-rock type sound of this song might bring to mind acts like Mumford and Sons and The Avett Brothers, though The Decemberists might evoke the latter a bit more on this song with its harmonica solos.

5 newbies and 2 oldies-come-lately

Well, here goes:

"40 Day Dream" by Edward Sharpe and The Magnetic Zeros: One of the two "oldies-come-lately", as listed in the title of this week's review. This song seems to have been circulating on adult alt. stations since the summer of this year, but has only seen a big increase within the last week. Ed and The Zeros' song "Home" has been around since February of this year (a week before I made this blog!), and seems to have become a fave among both adult alt and "regular" alt audiences (surprisingly), probably for its nostalgic, Mamas-and-Papas-ish vibe and lush, melodic, harmonizing vocals. Their second big hit, "40 Day Dream", retains the nostalgic vibe of "Home", but uses more keyboards (the old-timey kind, not electronic), and has a slower rhythm. It seems a bit incongruous that the chorus of this song seems to lift from the exact same chords of the chorus of Journey's "Lovin', Touchin', Squeezin'", as Journey seem to be built on being "crowd pleasers", where Edward Sharpe and The Magnetic Zeros seem more about recreating the quirky but catchy folk-rock sound of The Mamas and The Papas and The Lovin' Spoonful. Comparisons aside, though, "40 Day Dream" is still nostalgic and catchy enough to win my heart over!


"I Want the World to Stop" by Belle and Sebastian: When hearing the term "critic's darlings", Belle and Sebastian are typically the FIRST band that come to mind! The fact alone that they were named after a British children's TV show should be a hint as to what Belle and Sebastian's music typically sounds like to those who are unfamiliar with them - very warm-and-fuzzy, childlike, nostalgic, etc. B & S also manage to put a little "zing" into their music sometimes, by making their music energetic, as opposed to just wistful, as they had done with their 2006 song, the somewhat Todd Rundgren-esque "Funny Little Frog". "I Want the World to Stop" continues in "Frog"'s footsteps, only the energy level is sped up a bit, and it has more of a mid-'70s disco feel than early '70s Todd Rundgren. The trademark muted trumpet solos that nearly every B & S song seem to have continues in "I Want the World to Stop", though, so that helps it to retain the typical B & S spirit that it might have lacked if not for that.


"Only the Young" by Brandon Flowers: If the synthesized intro in the otherwise guitar-oriented "Read My Mind" from Flowers' band The Killers were extended, it would probably sound like "Only the Young". If Flowers' previous solo effort, "Crossfire", was his attempt at a Springsteen/U2 song, then "Only the Young" seems more like an attempt to emulate Sting's mid-to-late '80s solo works. I know what some of you might be thinking, but this isn't necessarily a BAD thing! It does yield more disappointing results than "Crossfire" did (which I initially gave a somewhat harsh review to, but it grew on me the more it played). "Only the Young" at least makes an effort to TRY to sound good, though, and maybe it will grow on me eventually, too.


"Save My Love" by Bruce Springsteen: Hmmmm...this sounds like a VINTAGE Springsteen tune. That's because it IS!! It's an outtake from The Boss's 1978 masterpiece, "Darkness On the Edge of Town". It sounds like it belongs on there, too, for it's not the Van Morrison-esque jazz-rock of Bruce's first two albums, and nor is it the Phil Spector-meets-Bob Dylan epic rock of "Born to Run" (the album AND the song), but rather the tinkly but still rollicking piano-rock that is purely The Boss's own! This is a great track! My only question is, why did Springsteen stop releasing songs of this quality once "Born In the U.S.A." came around?!?


"Telephone" by Black Angels: As The Black Keys, Carney, and (to a certain extent) of Montreal's latest tunes have proven, 2010 has proven to be a year of renewed interest in '60s garage rock!! Even the name of the band, "Black Angels", was taken from a Velvet Underground tune, the violent violin-rocker "Black Angel's Death Song". The irresistibly cheesy organs of this song, and even the little-over-2-minute length of it make it seem like it could have been used by the same guys who did the "BBC" song in the credits of one of the "Austin Powers" movies! Its simplistic, repetitive rhythm, chord structure, and frustrated-by-love lyrics all convey the same vibe "Louie Louie" and "96 Tears" did many years ago! A must for fans of '60s rock!!


"Terrible Things" by April Smith and The Great Picture Show: Beginning with Lily Allen and Kate Nash, and continuing to this day in bands like Florence and The Machine, there seems to have been a trend in the late '00s/early 2010's for eclectic but sassy female alt-rock/indie musicians. The latest to jump on the bandwagon are the super-eclectic, ultra-catchy, melodic soul-inflected indie-pop of April Smith and The Great Picture Show. The eclectic qualities of this song are definitely worth discussing, as "Terrible Things" combines, reggae (in the beginning), jazz, soul, and even some subtle elements of punk into one big auditory party!! April Smith's Gwen Stefani-esque vocals tend to add to the sexiness and slinkiness that "Terrible Things" already has going for it! Within the sudden slew of songs that have come out in October 2010, this one might just be my fave so far!


"The Cave" by Mumford and Sons: Just like the first song reviewed this song, this last one is also an "oldie-come-lately". It's been receiving airplay on adult alt. stations since summer of this year, yet it's only been within the past 2 or so weeks that stations besides Sirius XM's Spectrum have started adding it in regular rotation. Even among bands already classified as "indie", Mumford and Sons have a special quality to each of their songs, which typically feature an old Celtic folk sound, a dobro (think a cross between a mandolin and a banjo), and almost Crosby-Stills-and-Nash-ish vocal harmonies. I've known about these guys since Sirius XM first featured "White Blank Page" back in January of this year, and since their now smash hit, "Little Lion Man", had made an epic journey across many adult alt and "regular" alt stations. The Celtic folk/dobro/harmony factor is present in pretty much every Mumford and Sons song, yet what sets apart "The Cave" from the rest of their material is the muted trumpet solo at the end of the song! It's my favorite part of the whole thing!! Though each of their songs seems to take on a similar rhythmic pattern, the chord structures are not usually the same, so "The Cave" is also memorable for that factor as well. If you haven't heard these guys, PLEASE do!! I initially thought they were an Irish group (only to find out from various sources that they're actually from England), but their influences almost CERTAINLY seem to be rooted in Irish folk - another reason I like them SO much - I'm Irish, too, in my heritage.

I'm ba-ack!! With ANOTHER EIGHT new entries!!

not bad for returning after a two-week hiatus, eh? Here they are!

"Dirty Side Down" by Widespread Panic: Unlike the Lynyrd Skynyrd-ish "North", the title track from Widespread Panic's latest album shows a more earthy, roots-y feel to it. It almost has a Grateful Dead-ish sound to it, albeit the more folk-y side of their material. Frankly, I'm surprised adult alt. radio stations DIDN'T pick up on this one first since it has such a folk-rock-y, almost hippie-ish vibe to it, but I guess the band wanted "North" to be released as a "hit" first, since it has a more catchy, radio-friendly sound. Fans of The Grateful Dead and The Black Crowes (also reviewed this week) should enjoy this song very much!

"London Calling" by Bruce Springsteen: Before I review this one, let me just point out that it's pretty amazing how much classic rock material has been dominating adult alt. radio lately! This week there's five (Springsteen, The Black Crowes, John Mellencamp, R.E.M., and the classic rock-ish Widespread Panic). Anyway, on with the review. For most of the 2000's, The Boss put out material that I personally thought he could've done better with. A lot of seemed like contemporary folk-rock-ish material a la Dave Matthews Band, Train, Counting Crows, etc. Not that there's anything wrong with those bands (except for everything Train released AFTER their debut), but it just doesn't seem to fit Springsteen's free-spirited brand of rock and roll he's become known for. Thankfully, the hard-rockin' "Radio Nowhere" was released in Fall 2007 and revitalized his youthful energy. The Boss's cover of The Clash's classic hit from 1979 attempts to recapture that same youthful energy he had about 3 years ago with "Radio Nowhere", complete with a guitar solo that seems to rival the original! However, the original version of "London Calling" is just untouchable in my opinion. The Clash already made that one into a solid gold rocker! Though Springsteen's attempt at the song is certainly not bad, I much prefer the original!

"My Morning Song" by The Black Crowes: Unfortunately, the version of this song that's hitting adult alt. radio stations, from the Crowes' all-acoustic album, "Croweology", is something that I haven't found anywhwere yet. However, I can still review the original version in the meantime. Though it's an old song (1992), I still want to review it since I haven't heard it before. From what I can tell, it has very much of a Led Zeppelin-y sound, filtered via Southern rock. It borrows quite heavily from Zeppelin's "Traveling Riverside Blues" (which itself borrows from Zeppelin's own "The Lemon Song", both musically and lyrically). The Crowes were unlike any band from the '90s in that they were SO influenced by classic rock, that most "alternative" rock stations wouldn't touch their music (despite the fact that similar sounding bands, such as Spin Doctors, received heavy airplay on such stations at the time they debuted). Likewise, "Hard to Handle" and "She Talks to Angels" are some of the few songs of the '90s that classic rock stations WILL touch. With "My Morning Song"'s pure rock-and-roll flavor, it will be quite interesting to hear what the newly released acoustic version will sound like - I'll keep you guys posted and re-review this song once I finally hear that version!

"My Own Sinking Ship" by Good Old War: If I had to name any indie band as "snuggly", "cute", or "warm and fuzzy", it'd be Good Old War, despite their name! Every song of theirs just makes me want to reach out and hug somebody, and this is no exception, despite the subject matter (probably about a crumbling relationship, from what I can tell). Much of GOW's material seems like an update on that of Simon and Garfunkel's, though "My Own Sinking Ship" also adds in a vaguely harmonica-ish instrument that S & G (I don't think) ever had in their songs. If you like your indie music folk-rock-y and precious, this one's for you!

"No Better Than This" by John Mellencamp: Like Springsteen (see "London Calling", also reviewed for this week), Mellencamp was another classic rocker who had his ups and downs for the material he made in the 2000's. Towards the end of the decade, Mellencamp found his inner-rock-star amidst the disillusioned folkie he seemed to be for most of the decade with a song called "My Sweet Love". The song had a feel to it that resembled '50s rockers like Buddy Holly and Bo Diddley (the same schtick fellow classic rocker Chrissie Hynde of The Pretenders seemed to be using right around the same time!) "No Better Than This" almost sounds like a "sequel" to "My Sweet Love". It seems to use the same beat and even same guitar distortion to "My Sweet Love". Of course he's not the only rocker to rip off his own material (a famous case of this is John Fogerty, whose "The Old Man Down the Road" sounded almost exactly like his Creedence Clearwater hit, "Run Through the Jungle"). As far as clones of rock songs done by the exact same artist go, this one's pretty cool!

"Ready to Start" by Arcade Fire: Compared to their release earlier this year, "The Suburbs", I was a bit disappointed with this one, so I wanted to hold off on reviewing this one when I first heard about it, but by now it's hit enough adult alt. stations that I felt like I should give it another try. Where "The Suburbs" was bright, jaunty folk-rock at its finest, "Ready to Start" sounds a bit more depressing (though still upbeat), almost like The Cure trying to cover '70s rockers Golden Earring's "Radar Love". "Ready to Start" takes the beat of the latter and mixes it with the world weary, heavy burden-ish vibe of the former. A bit of an uneven mix if you ask me, but I suppose that the catchiness of the song has been what's won over adult alt. radio stations. I MUCH prefer "The Suburbs", but as far as Arcade Fire songs go, this one's not bad. I guess it just reminds me a little too much of the post-punk-ish material they did on their debut, as opposed to the more orchestral, but fun flavor they went for on "Neon Bible".

"The Ghost Inside" by Broken Bells: It's interesting to see the order in which the songs from Broken Bells' album have been chosen to make their mark on adult alt. radio stations. The first song, "The High Road", which has been around almost since the beginning of 2010, was the perfect mix for a band whose alumni are members of indie-folk-rockers The Shins and electro-pop-rockers Gnarls Barkley, as it was equal parts indie-folk-rock and electronic pop music. The second song, "Vaporize", was clearly a James Mercer (Shins) song as far as I could tell with its jaunty, Beatlesque vibe. Now, the third single off Broken Bells' album, "The Ghost Inside", is making its way onto the adult alt. airwaves. This one sounds more like a song Cee-Lo (Gnarls Barkley) probably wrote/composed. The sing-song-y melody of the other two songs is still present, yet "The Ghost Inside" is MUCH more of an electro-pop song than a contemporary folk-rock song. At times, it almost seems like a new-wave-y update of Foreigner's '80s sax-driven rocker, "Urgent" (though only by the notes that are being used in the song, as there is no sax in "The Ghost Inside"). I don't think that "The Ghost Inside" is as good as the other two songs off Broken Bells' album, but who knows, over time I'll probably grow to like it, just like I have with most of the songs I've blogged about.

"Throw Those Trolls Away" by R.E.M.: This is actually an old R.E.M. song (and kinda sounds like one) from the band's 1985 album, "Fables of the Reconstruction", which featured such classic R.E.M. songs as "Can't Get There From Here" and "Driver 8". However, they decided to wait until this year to release it. My question is, why?!? It has that great vintage R.E.M. sound that meets at the intersection of The Byrds, The Beatles, and The Velvet Underground. Perhaps what makes "Throw Those Trolls Away" unique, besides its retro sound in a new decade, is that it seems like it reflects one of the few times that R.E.M. are comfortable just goofing around (there's even a part in the middle where Michael Stipe says, "Turn the guitar up, will ya?") Amidst the typical folk-rock and light psychedelic influences R.E.M. had in the '80s, there's also a bit of Chuck Berry influence in "Trolls" in the way that the A and D chords are being played around with. Pre-fame R.E.M. material is often the best from the band in my opinion, and thankfully we've got yet another example of this now!