here they are:
"Care" by Beabadoobee: First off, let's get one thing straight. If you're having trouble pronouncing the stage name of this musician, just pretend you're scatting. It's literally "Bee-yah-bah-doo-bee". Anyway, if you're getting Alanis Morissette or Garbage type of vibes from Beabadoobee's breakthrough summer hit, "Care", Beatrice Kristi Laus (a.k.a. Beabadoobee) claims that this was intentional. It was supposed to sound like the ending song of a '90s coming-of-age movie. As for the lyrics of the song, those are definitely more millennial than they are reflective of the '90s. The song basically came about as a result of being in lockdown, and how Laus wants people to understand that getting through it has been difficult. "Care" is also directed at how ignorant society can be in general towards people with specific mental and/or psychological problems. However, she does not want people to feel sorry for her. As someone with such problems myself, I feel like I can identify with her. I don't want people feeling "sorry" that I have Asperger syndrome. I just want people to know what it's like! I think this song can speak for many people out there who feel misunderstood, including a lot of my closest friends!
"Five More Minutes" by The War and Treaty: The three and a half minutes of The War and Treaty's "Five More Minutes" are soulful, as one might expect from the Nashville husband-and-wife duo. The soulful flavor of this song differs a little bit from "Are You Ready to Love Me?", the only other song I've heard so far from The War and Treaty. Where that song was kind of a country/soul combo, "Five More Minutes" seems like pure Memphis soul (even though it was recorded in Nashville)! Elements of musicians like Otis Redding and Booker T. Washington can be heard in "Five More Minutes". The song is a short but passionate plea for romance that rejuvenates and cleanses the spirit in a way that only good ol' Southern soul music can do!
"Patience" by Chris Cornell: As one of the leaders of the grunge movement, it should come as no surprise that the late Chris Cornell was a Guns 'N' Roses fan. This song is a cover of one of the few acoustic rock songs in G 'N' R's career, released posthumously, as Chris Cornell has not been around since summer of 2017. "Patience" is probably one of the few truly sincere songs in the G 'N' R catalog, although "Sweet Child O' Mine", a love song written about Erin Everly (whose dad was Don from '50s country-rock group, The Everly Brothers), comes close. "Patience" is not a love song, though. It is simply a song that tries to offer hope in times of darkness. As Chris Cornell is but a rock and roll ghost as of now (and he's performing a cover of a song over 30 years old), there is no way that "Patience" could possibly be about the pandemic we're currently going through, but it is one of many songs that can give us hope during this time! This song could not have been released at a better time!
"Scarlet" by The Rolling Stones (featuring Led Zeppelin's Jimmy Page): It seems as though The Rolling Stones have decided to start this decade off in a similar way to how they started the last one - by releasing a song from one of their classic albums that was previously unavailable on said album! In 2010, they unveiled "Plundered My Soul", an outtake from "Exile on Main Street". Ten years later, they have released "Scarlet", a previously unreleased track from their 1973 album, "Goat's Head Soup". With help from Led Zeppelin's ace guitarist, Jimmy Page, The Stones have unleashed yet another boozy, bluesy rocker about a girl who "wears her heart on (Mick Jagger)'s sleeve." Seems like one of the many notorious Stones songs that aren't exactly favorable towards women as far as the lyrics are concerned, but darn it all if any aspiring electric guitarist doesn't wanna rock out to this tune! "Scarlet" is a crackling, fiery tune, just as its title suggests that it is!
Showing posts with label Chris Cornell. Show all posts
Showing posts with label Chris Cornell. Show all posts
Wednesday, July 29, 2020
Wednesday, November 14, 2018
New songs for November 14th 2018
here they are:
"Change" by The Revivalists: "Change" is an apt title for this song, since it is a change from the boastful pop flourish of The Revivalists' previous hit, "All My Friends". Here, the New Orleans octet goes back to the blues-rock they were originally known for before they hit the big time. Not only is the song catchy, but it is clever as well, making more than one use of the word "change" in its lyrics. The chorus uses the word twice: "You've got some CHANGE inside your pocket, but it doesn't CHANGE a thing". This is The Revivalists the way they were meant to sound!
"Dark Dark Dark" by Gregory Alan Isakov: Gregory Alan Isakov has been around for a while now, but this marks the first time I've really heard his music. Mixing the intimate folk-rock of Damien Rice with the down home-y country-rock of The Avett Brothers, Gregory weaves an enchanting, wistful tale in "Dark Dark Dark". The song is an ode to the narrator's girlfriend, presumably named Maria (is the same Maria who showed up in countless Counting Crows songs?!), with reflective, nature laden imagery that wouldn't sound out of place in an Iron & Wine tune. The peaceful calm of songs like this make life worth living to me!
"Elastic Days" by J. Mascis: And now, here comes some more charmingly esoteric folk-rock from the formerly noisy Dinosaur Jr. frontman, J. Mascis. Just a few weeks ago, I was reviewing Mascis' "See You At the Movies", and he's already come out with another new song for the year that adult alt radio stations are gravitating towards! How about that?! Anyway, although both this song and "See You At the Movies" are essentially folk-rock tunes, "Elastic Days" leans even more towards folk-rock than "See You At the Movies" did. "Elastic Days" has a softer backing electric guitar than "See You At the Movies" did. So what does J mean by "the sky is back to all elastic days?" Perhaps only J himself knows the answer to that one. However, the song is not meant for lyrical analyzation as much as it is meant for people to take a breather from an otherwise hectic day, so let's go with the flow here, as Mascis has probably intended for us to do!
"Last of Your Rock 'N' Roll Heroes" by Iron & Wine: There's not a whole lot of rock 'n' roll in this song. It's more just folk music with a catchy drumbeat. The song hearkens back to the simple but weighty lyricism of early R.E.M. tunes, with its title repeated many times throughout the song, and its short, simple verses coming off as oblique but still somewhat meaningful. Sam Beam's music may be rooted in folk, but he is still a rock and roll fan, and with rock heroes leaving the planet by the thousands these days (if not the millions), perhaps that's where he was coming from with the song's title and idea.
"When Bad Does Good" by Chris Cornell: And speaking of fallen rock and roll heroes, here's one who made his exit in the summer of last year. "When Bad Does Good" is a posthumous release in the Chris Cornell catalog. The sweet but powerful "Nearly Forgot My Broken Heart" seemed to be an apt swan song for Chris, but the beginning of "When Bad Does Good" almost sounds like an ascent into heaven, as though he KNEW how he was going to decide his own fate back when he came up with the idea for this song! Why he chose not to release this beautiful song during his lifetime is anyone's guess, but perhaps he wanted listeners to feel like he was calling to them from heaven when he did this song. Life and death are curious phenomena in the human lifespan, and Cornell captures them both here perfectly!
"Change" by The Revivalists: "Change" is an apt title for this song, since it is a change from the boastful pop flourish of The Revivalists' previous hit, "All My Friends". Here, the New Orleans octet goes back to the blues-rock they were originally known for before they hit the big time. Not only is the song catchy, but it is clever as well, making more than one use of the word "change" in its lyrics. The chorus uses the word twice: "You've got some CHANGE inside your pocket, but it doesn't CHANGE a thing". This is The Revivalists the way they were meant to sound!
"Dark Dark Dark" by Gregory Alan Isakov: Gregory Alan Isakov has been around for a while now, but this marks the first time I've really heard his music. Mixing the intimate folk-rock of Damien Rice with the down home-y country-rock of The Avett Brothers, Gregory weaves an enchanting, wistful tale in "Dark Dark Dark". The song is an ode to the narrator's girlfriend, presumably named Maria (is the same Maria who showed up in countless Counting Crows songs?!), with reflective, nature laden imagery that wouldn't sound out of place in an Iron & Wine tune. The peaceful calm of songs like this make life worth living to me!
"Elastic Days" by J. Mascis: And now, here comes some more charmingly esoteric folk-rock from the formerly noisy Dinosaur Jr. frontman, J. Mascis. Just a few weeks ago, I was reviewing Mascis' "See You At the Movies", and he's already come out with another new song for the year that adult alt radio stations are gravitating towards! How about that?! Anyway, although both this song and "See You At the Movies" are essentially folk-rock tunes, "Elastic Days" leans even more towards folk-rock than "See You At the Movies" did. "Elastic Days" has a softer backing electric guitar than "See You At the Movies" did. So what does J mean by "the sky is back to all elastic days?" Perhaps only J himself knows the answer to that one. However, the song is not meant for lyrical analyzation as much as it is meant for people to take a breather from an otherwise hectic day, so let's go with the flow here, as Mascis has probably intended for us to do!
"Last of Your Rock 'N' Roll Heroes" by Iron & Wine: There's not a whole lot of rock 'n' roll in this song. It's more just folk music with a catchy drumbeat. The song hearkens back to the simple but weighty lyricism of early R.E.M. tunes, with its title repeated many times throughout the song, and its short, simple verses coming off as oblique but still somewhat meaningful. Sam Beam's music may be rooted in folk, but he is still a rock and roll fan, and with rock heroes leaving the planet by the thousands these days (if not the millions), perhaps that's where he was coming from with the song's title and idea.
"When Bad Does Good" by Chris Cornell: And speaking of fallen rock and roll heroes, here's one who made his exit in the summer of last year. "When Bad Does Good" is a posthumous release in the Chris Cornell catalog. The sweet but powerful "Nearly Forgot My Broken Heart" seemed to be an apt swan song for Chris, but the beginning of "When Bad Does Good" almost sounds like an ascent into heaven, as though he KNEW how he was going to decide his own fate back when he came up with the idea for this song! Why he chose not to release this beautiful song during his lifetime is anyone's guess, but perhaps he wanted listeners to feel like he was calling to them from heaven when he did this song. Life and death are curious phenomena in the human lifespan, and Cornell captures them both here perfectly!
Wednesday, August 26, 2015
New songs for August 26th 2015
here they are:
"Do You Remember?" by Jarryd James: Upon listening to this song, I can't help but feel that its sound is a little like Gotye, only creepier! In a good way, though, I promise you. There is a bit of a stalker-y vibe to this song somehow, but it sinks into your mind as though nothing ever happened! Many people seem to describe this song as a mix between soul and electronica, and that's a pretty accurate description if you ask me! Soul has never been so eerie, and nor has electronica sounded so funky!
"High By the Beach" by Lana Del Rey: Sex and drugs and...ummmm...something kinda like rock 'n' roll but not quite. That's Lana Del Rey for ya! Last year's "West Coast" definitely emphasized the sex element, albeit in a warm, intimate manner. Now Lana takes on the second subject of the unholy trinity, drugs. She repeatedly states in the chorus that "all (she) want(s) to do is get high by the beach". With the song's breezy, beach-like vibe combined with its "I don't feel like doing much of anything" attitude, you really believe that that's all she wants to do when you listen to the song! Though her music doesn't really scream out "rock and roll" (Joni Mitchell's "Raised On Robbery" sounds like Zeppelin in comparison to LDR's music), Lana seems to often romanticize the R 'N' R lifestyle, whether it's mentioning "rock and roll groupies" in her lyrics, or even her infamous "wish to be dead" inspired by Kurt Cobain (which made both Kurt's daughter Frances and fellow grungette Kim Gordon rather irate). Perhaps Lana should go back to playing "video games", like she sang about in her debut song.
"Nearly Forgot My Broken Heart" by Chris Cornell: Speaking of grunge alumni, we also have a new song from Soundgarden's Chris Cornell! It might surprise you to know that the man whose most famous song was called "Black Hole Sun" is a bit of a folkie, but he is, and he's pretty good at being one, too! He even managed to make Michael Jackson's "Billie Jean" into a long, drawn-out drama with music comparable to Dylan and Cash. Some might view "Nearly Forgot My Broken Heart" as a way to one-up Eddie Vedder's somber, ukulele driven folk songs from the "Into the Wild" soundtrack, but Chris's brand of folk-rock is purely his own here! "Nearly Forgot My Broken Heart" is reflective, and almost spiritual in a way. Soundgarden fans needn't be disappointed, though, for the song does feature a brief electric guitar solo.
"Nobody Really Cares If You Don't Go to the Party" by Courtney Barnett: And the winner for longest song title of the week, at ten words long, goes to Courtney Barnett!! The title of this song is gonna be a mouthful for radio DJ's to announce, wow! Luckily, Courtney's aim is not at radio DJ's. Well, not the mainstream ones, anyway. Courtney's latest album has catapulted her status from the singer/songwriter of slacker hit, "Avant Gardener", to someone with a bit more eclectic taste. She has emulated quite a few legendary rock 'n' roll women on her latest album, from Courtney Love ("Pedestrian At Best") to Chrissie Hynde ("Dead Fox") to Patti Smith (this song, which has a similar feel to Patti's version of the garage rock classic, "Gloria", albeit without as much intensity). Like "Gloria", "Nobody Really Cares..." is pretty much the E, D, and A chords used repeatedly throughout the song, but it works here. Echoing the rock 'n' roll dilemma of "Should I Stay Or Should I Go?", the chorus of "Nobody Really Cares..." is "I wanna go out but I wanna stay home". Rock on, brown-haired woman!
"Year Zero" by Moon Taxi: This isn't the first song Moon Taxi have done, but it does look like the one that's gonna make them known to a wider audience! "Year Zero" is all about embracing the feeling of being apart from people and seeing where it will lead you. With its determined, fearless sound, I'm not surprised the song is about that. Makes for a great opening track to their latest album, too. I guess Moon Taxi are ready to face the final frontier!! (Or, to use another famous movie quote, to go "to infinity...and beyond!")
"Do You Remember?" by Jarryd James: Upon listening to this song, I can't help but feel that its sound is a little like Gotye, only creepier! In a good way, though, I promise you. There is a bit of a stalker-y vibe to this song somehow, but it sinks into your mind as though nothing ever happened! Many people seem to describe this song as a mix between soul and electronica, and that's a pretty accurate description if you ask me! Soul has never been so eerie, and nor has electronica sounded so funky!
"High By the Beach" by Lana Del Rey: Sex and drugs and...ummmm...something kinda like rock 'n' roll but not quite. That's Lana Del Rey for ya! Last year's "West Coast" definitely emphasized the sex element, albeit in a warm, intimate manner. Now Lana takes on the second subject of the unholy trinity, drugs. She repeatedly states in the chorus that "all (she) want(s) to do is get high by the beach". With the song's breezy, beach-like vibe combined with its "I don't feel like doing much of anything" attitude, you really believe that that's all she wants to do when you listen to the song! Though her music doesn't really scream out "rock and roll" (Joni Mitchell's "Raised On Robbery" sounds like Zeppelin in comparison to LDR's music), Lana seems to often romanticize the R 'N' R lifestyle, whether it's mentioning "rock and roll groupies" in her lyrics, or even her infamous "wish to be dead" inspired by Kurt Cobain (which made both Kurt's daughter Frances and fellow grungette Kim Gordon rather irate). Perhaps Lana should go back to playing "video games", like she sang about in her debut song.
"Nearly Forgot My Broken Heart" by Chris Cornell: Speaking of grunge alumni, we also have a new song from Soundgarden's Chris Cornell! It might surprise you to know that the man whose most famous song was called "Black Hole Sun" is a bit of a folkie, but he is, and he's pretty good at being one, too! He even managed to make Michael Jackson's "Billie Jean" into a long, drawn-out drama with music comparable to Dylan and Cash. Some might view "Nearly Forgot My Broken Heart" as a way to one-up Eddie Vedder's somber, ukulele driven folk songs from the "Into the Wild" soundtrack, but Chris's brand of folk-rock is purely his own here! "Nearly Forgot My Broken Heart" is reflective, and almost spiritual in a way. Soundgarden fans needn't be disappointed, though, for the song does feature a brief electric guitar solo.
"Nobody Really Cares If You Don't Go to the Party" by Courtney Barnett: And the winner for longest song title of the week, at ten words long, goes to Courtney Barnett!! The title of this song is gonna be a mouthful for radio DJ's to announce, wow! Luckily, Courtney's aim is not at radio DJ's. Well, not the mainstream ones, anyway. Courtney's latest album has catapulted her status from the singer/songwriter of slacker hit, "Avant Gardener", to someone with a bit more eclectic taste. She has emulated quite a few legendary rock 'n' roll women on her latest album, from Courtney Love ("Pedestrian At Best") to Chrissie Hynde ("Dead Fox") to Patti Smith (this song, which has a similar feel to Patti's version of the garage rock classic, "Gloria", albeit without as much intensity). Like "Gloria", "Nobody Really Cares..." is pretty much the E, D, and A chords used repeatedly throughout the song, but it works here. Echoing the rock 'n' roll dilemma of "Should I Stay Or Should I Go?", the chorus of "Nobody Really Cares..." is "I wanna go out but I wanna stay home". Rock on, brown-haired woman!
"Year Zero" by Moon Taxi: This isn't the first song Moon Taxi have done, but it does look like the one that's gonna make them known to a wider audience! "Year Zero" is all about embracing the feeling of being apart from people and seeing where it will lead you. With its determined, fearless sound, I'm not surprised the song is about that. Makes for a great opening track to their latest album, too. I guess Moon Taxi are ready to face the final frontier!! (Or, to use another famous movie quote, to go "to infinity...and beyond!")
Wednesday, September 28, 2011
Lucky number seven strikes again!!!
This is the third time within about a month long period that I've reviewed seven songs!! Must be my lucky month!
One more thing before I begin. An edit to last week's post, in which I referred to Dale Earnhardt Jr. Jr. as one guy - they are actually two people, not one. I apologize. The kids these days and their weird band names, and their gadgets and gizmos and...ok enough of that. On with the reviews!!
"Did I Let You Know?" by Red Hot Chili Peppers: So how have RHCP decided to follow up their smash hit of summer 2011, "The Adventures of Rain Dance Maggie"?! The answer to that is with "Did I Let You Know?", a song that delves into rather eclectic territory for The Chili Peppers, with its tropical island-y sound (and rad sax solos to boot!) The goofy but craftily delivered lyrics (i.e. "I want to lean on you/Get Jan and Dean on you", and "I like your cheeky/Oh so Mozambique-y") also seem to make it clear that RHCP probably intended the "island-y" sound they went for on this song, what with the references to surf music (Jan and Dean) and countries where the temperature is more likely to be warmer than colder (Mozambique). If The Chili Peppers had only decided to release their latest CD, "I'm With You" in late spring instead of mid-summer, "Did I Let You Know?" probably would have made the perfect summer hit!! Better late than never, though, I suppose.
"Don't Stop (Color On the Walls)" by Foster the People: Do Foster the People have a knack for making catchy songs, or what?!? Their late spring/early-to-mid summer smash, "Pumped Up Kicks", a song that brings to mind the lyrical dissonance of other happy, melodic songs with questionable lyrics like The Boomtown Rats' "I Don't Like Mondays", became one of the most successful songs of the year (in multiple genres, at that). Where "Pumped Up Kicks" went for a rather mysterious, keyboard dominated, new wave-y sound, FTP's latest tune, "Don't Stop (Color On the Walls)" centers more around the guitar (both acoustic and electric are used here), is bouncy all the way around, and evokes the swirly vibes of neo-psychedelia. For those concerned about lyrical content, "Don't Stop (Color On the Walls)" provides an interesting contrast to "Pumped Up Kicks" in that context as well. The lyrics almost seem childlike in "Don't Stop..." (for instance, in the second verse, "We're all just having fun/Sleigh boat ride, piggy back ride/I'm going to show them all how I can ride/1, 2, 3, close your eyes and count to four, I like to hide behind my bedroom door/Crayons on walls, I'll color on them all")
"Miami Virtue" by Umphrey's McGee: If you put The Grateful Dead and Pink Floyd's music and put them in a blender, you'd probably get a sound close to the half jam band/half progressive rock sound of Umphrey's McGee, a band with a considerable cult following, but who had never (until now) got airplay even on "underground" radio stations, probably because they were more about experimentation than melody and/or catchiness. Their latest, "Miami Virtue", definitely sounds more like Floyd than it does The Dead (with traces of Canadian prog-rock band Rush in there too, much to my surprise). Never would have expected so many flashy synthesizers dueling with '70s style electric guitar distortion in a song by Umphrey's McGee, but if that's what it takes to make people want to pay more attention to them, that's not necessarily a bad thing. "Miami Virtue" has enough memorable hooks to get stuck in one's head easily (something that probably can't be said about most of Umphrey's material). Just try to remember that if you hear this song mixed in with various indie, alt-pop, and contemporary folk songs that the station that played that has NOT switched over to a "classic rock" format without warning.
"Saw You First" by Givers: "Givers" seems like such a fitting name for a band with such a bright, optimistic sound (as though they're "giving" their music to share with all the world)! The irresistibly catchy "Up Up Up" was a great song to dance and sing along to in the summer of this year, and as fall approaches, their song "Saw You First" is also apt for the season it's come out in, with its more melancholy but still harmonious, chirpy sound. A bit more acoustic/electric mingling on "Saw You First" as well, which is another factor that makes it worth listening to in my opinion. In spite of the rather yearning emotions "Saw You First" tends to elicit, it's still a fun song to dance to! Please check this one out if you haven't already!!
"Surfer King" by A.A. Bondy: A.A. Bondy is one of those musicians who has been loved among indie fans for quite awhile now, but is only starting to gain attention on adult alt radio stations. If "Surfer King" ends up becoming the one song he's known for, it will probably end up representing his typical sound well (though I don't know for sure since this is the only song I really know by him so far). It is a gentle, sighing, breezy song that sounds a lot like the "softer" material of bands like My Morning Jacket and Band of Horses (it uses similar distortion to MMJ's "Thank You Too!" and BOH's "No One's Gonna Love You"). Even Bondy's vocals sound a bit like Jim James from My Morning Jacket in this song. "Surfer King" is an absolutely beautiful, poignant, poetic song that paints pictures of a purplish-pink sunset along the ocean waves in my head. I think this is my fave song of the week!! Highly recommended!!
"The Keeper" by Chris Cornell: In his glory days with the grunge band Soundgarden, the words "Chris Cornell" and "soothing" might not have been used in the same sentence very often. Chris started to explore more acoustic guitar once he went solo, however, and "The Keeper" is his most sentimental song to date, putting him in the same musical class as other rock 'n' roll giants gone folk such as Robert Plant and Eddie Vedder. Lyrically, "The Keeper" is a very sad song with a rather mysterious central message ("I may not be The Keeper of the flame/But I am The Keeper"). Perhaps this song might make some of Soundgarden's most loyal fanbase a bit upset, but it's nice to hear the quieter side of Cornell, away from the chaos and anger that surrounded songs like "Black Hole Sun" and "Fell On Black Days".
"Well Well" by Beth Hart and Joe Bonamassa: Beth Hart was a singer/songwriter from the early '00s, best known for the vaguely Alanis Morissette-ish "L.A. Song". Joe Bonamassa is one of the few contemporary country singers not to have a "commercial" flavor or approach to his music. So what do they sound like together?!? A jammin' country-blues-rock duo, that's what!! A bit more fiery and Allman Brothers-ish ("One Way Out", anyone?) than most of the material either of them have done, "Well Well" serves a high point for both Beth and Joe! Who knew Beth Hart had such a convincing, powerful inner Janis Joplin?! I sure didn't, but she's good at it. Joe's vocal contributions to the song aren't as distinctive but he still manages to do a decent job at it!
One more thing before I begin. An edit to last week's post, in which I referred to Dale Earnhardt Jr. Jr. as one guy - they are actually two people, not one. I apologize. The kids these days and their weird band names, and their gadgets and gizmos and...ok enough of that. On with the reviews!!
"Did I Let You Know?" by Red Hot Chili Peppers: So how have RHCP decided to follow up their smash hit of summer 2011, "The Adventures of Rain Dance Maggie"?! The answer to that is with "Did I Let You Know?", a song that delves into rather eclectic territory for The Chili Peppers, with its tropical island-y sound (and rad sax solos to boot!) The goofy but craftily delivered lyrics (i.e. "I want to lean on you/Get Jan and Dean on you", and "I like your cheeky/Oh so Mozambique-y") also seem to make it clear that RHCP probably intended the "island-y" sound they went for on this song, what with the references to surf music (Jan and Dean) and countries where the temperature is more likely to be warmer than colder (Mozambique). If The Chili Peppers had only decided to release their latest CD, "I'm With You" in late spring instead of mid-summer, "Did I Let You Know?" probably would have made the perfect summer hit!! Better late than never, though, I suppose.
"Don't Stop (Color On the Walls)" by Foster the People: Do Foster the People have a knack for making catchy songs, or what?!? Their late spring/early-to-mid summer smash, "Pumped Up Kicks", a song that brings to mind the lyrical dissonance of other happy, melodic songs with questionable lyrics like The Boomtown Rats' "I Don't Like Mondays", became one of the most successful songs of the year (in multiple genres, at that). Where "Pumped Up Kicks" went for a rather mysterious, keyboard dominated, new wave-y sound, FTP's latest tune, "Don't Stop (Color On the Walls)" centers more around the guitar (both acoustic and electric are used here), is bouncy all the way around, and evokes the swirly vibes of neo-psychedelia. For those concerned about lyrical content, "Don't Stop (Color On the Walls)" provides an interesting contrast to "Pumped Up Kicks" in that context as well. The lyrics almost seem childlike in "Don't Stop..." (for instance, in the second verse, "We're all just having fun/Sleigh boat ride, piggy back ride/I'm going to show them all how I can ride/1, 2, 3, close your eyes and count to four, I like to hide behind my bedroom door/Crayons on walls, I'll color on them all")
"Miami Virtue" by Umphrey's McGee: If you put The Grateful Dead and Pink Floyd's music and put them in a blender, you'd probably get a sound close to the half jam band/half progressive rock sound of Umphrey's McGee, a band with a considerable cult following, but who had never (until now) got airplay even on "underground" radio stations, probably because they were more about experimentation than melody and/or catchiness. Their latest, "Miami Virtue", definitely sounds more like Floyd than it does The Dead (with traces of Canadian prog-rock band Rush in there too, much to my surprise). Never would have expected so many flashy synthesizers dueling with '70s style electric guitar distortion in a song by Umphrey's McGee, but if that's what it takes to make people want to pay more attention to them, that's not necessarily a bad thing. "Miami Virtue" has enough memorable hooks to get stuck in one's head easily (something that probably can't be said about most of Umphrey's material). Just try to remember that if you hear this song mixed in with various indie, alt-pop, and contemporary folk songs that the station that played that has NOT switched over to a "classic rock" format without warning.
"Saw You First" by Givers: "Givers" seems like such a fitting name for a band with such a bright, optimistic sound (as though they're "giving" their music to share with all the world)! The irresistibly catchy "Up Up Up" was a great song to dance and sing along to in the summer of this year, and as fall approaches, their song "Saw You First" is also apt for the season it's come out in, with its more melancholy but still harmonious, chirpy sound. A bit more acoustic/electric mingling on "Saw You First" as well, which is another factor that makes it worth listening to in my opinion. In spite of the rather yearning emotions "Saw You First" tends to elicit, it's still a fun song to dance to! Please check this one out if you haven't already!!
"Surfer King" by A.A. Bondy: A.A. Bondy is one of those musicians who has been loved among indie fans for quite awhile now, but is only starting to gain attention on adult alt radio stations. If "Surfer King" ends up becoming the one song he's known for, it will probably end up representing his typical sound well (though I don't know for sure since this is the only song I really know by him so far). It is a gentle, sighing, breezy song that sounds a lot like the "softer" material of bands like My Morning Jacket and Band of Horses (it uses similar distortion to MMJ's "Thank You Too!" and BOH's "No One's Gonna Love You"). Even Bondy's vocals sound a bit like Jim James from My Morning Jacket in this song. "Surfer King" is an absolutely beautiful, poignant, poetic song that paints pictures of a purplish-pink sunset along the ocean waves in my head. I think this is my fave song of the week!! Highly recommended!!
"The Keeper" by Chris Cornell: In his glory days with the grunge band Soundgarden, the words "Chris Cornell" and "soothing" might not have been used in the same sentence very often. Chris started to explore more acoustic guitar once he went solo, however, and "The Keeper" is his most sentimental song to date, putting him in the same musical class as other rock 'n' roll giants gone folk such as Robert Plant and Eddie Vedder. Lyrically, "The Keeper" is a very sad song with a rather mysterious central message ("I may not be The Keeper of the flame/But I am The Keeper"). Perhaps this song might make some of Soundgarden's most loyal fanbase a bit upset, but it's nice to hear the quieter side of Cornell, away from the chaos and anger that surrounded songs like "Black Hole Sun" and "Fell On Black Days".
"Well Well" by Beth Hart and Joe Bonamassa: Beth Hart was a singer/songwriter from the early '00s, best known for the vaguely Alanis Morissette-ish "L.A. Song". Joe Bonamassa is one of the few contemporary country singers not to have a "commercial" flavor or approach to his music. So what do they sound like together?!? A jammin' country-blues-rock duo, that's what!! A bit more fiery and Allman Brothers-ish ("One Way Out", anyone?) than most of the material either of them have done, "Well Well" serves a high point for both Beth and Joe! Who knew Beth Hart had such a convincing, powerful inner Janis Joplin?! I sure didn't, but she's good at it. Joe's vocal contributions to the song aren't as distinctive but he still manages to do a decent job at it!
Subscribe to:
Posts (Atom)