here they are:
"Baby Outlaw" by Elle King: If you can picture what it'd be like for a musician like Lorde to cover "Ghost Riders In the Sky", then you've pretty much got Elle King's "Baby Outlaw" in a nutshell! Just the opening of the song gives off imagery of a showdown in an old Western movie. This song has a similar premise to Elle's song, "Good Girls", which was her contribution to the 2016 version of "Ghostbusters". "Baby Outlaw" and "Good Girls" both revolve around how Elle has never been a "good girl", and how, as a result of this, she's no one to mess with. You'd better watch out, 'cause this song is the "Bad" and the "Ugly" to King's "Good Girls"!! (Cue Ennio Morricone theme here).
"Back On the Chain Gang" by Morrissey: The original "Back On the Chain Gang" by The Pretenders came out about a year before Morrissey's best known hit with The Smiths, "How Soon Is Now?", both in the mid 1980's. So how does this mopey alt-rock king interpret one of the best loved songs of a tough but tender rock and roll queen, you may ask?! Well, as you might have guessed, not as good as the original, but it's still worth hearing, and it's a pretty good attempt at covering the song, too! Moz retains the jangle-pop feel and heartfelt emotion of the original quite well. I never would have thought this cover was going to happen (I would have pictured a band like R.E.M. covering it first), but somehow, I'm glad it has!
"For Me It's You" by Lo Moon: With just a pair of singles ("This Is It" and "Real Love") under their belt so far, I'm a little surprised that Lo Moon are back with a second album after only a year, but "For Me It's You", their first single off of their sophomore record, retains the atmospheric electro-pop vibe of their first two breakthrough songs. "For Me It's You" could be viewed as a parallel to "This Is It", with its mostly melancholic but sweet atmosphere set off by a sudden burst of electric guitar after the chorus, though it does not disrupt the flow of the song overall. With lead singer Matt Lowell's technique of placing whispery, romantic vocals against an ersatz smooth jazz ensemble that briefly turns into a wall of noise, it's not hard to see why Lo Moon have recently toured with bands who use similar techniques, such as The War on Drugs, Phoenix, and Glass Animals, not to mention the band Ride, a legendary group of the "shoegazing" subgenre who have been around since the late '80s that inspired the other bands mentioned here (including Lo Moon themselves).
"Hey! Yeah!" by Deer Tick: Deer Tick have been all over the rock and roll map, primarily dabbling in either folk-rock or Southern rock. "Hey, Yeah!" marks what I believe is the first time that Deer Tick have taken on power pop, albeit with a somewhat Southern flavor to it. Think Big Star meets The Allman Brothers - a combination that sounds like it could just be crazy enough to work, and DOES, in this song! Here's what's even crazier, though. The music video for "Hey! Yeah!" features the band members as DANCING MAYONNAISE JARS!! Who on Earth thought THAT idea up?! I'm pretty sure the band members were ingesting far more than just mayonnaise when they made the music video for this song!! The video can be viewed here: https://www.youtube.com/watch?v=mbdcr5_tcd8
"Movement" by Hozier: Hozier's "Nina Cried Power" seemed unbeatable almost throughout this fall! Like all songs, though, its star eventually faded out on the radio airwaves, so here to take place of the Irish soul-ster's thunderous anthem is a more subtle, quieter song called "Movement". No matter what Hozier does, it always seems to gel well with adult alt radio stations, and it's not hard to see why! Whether he's dramatic or romantic, quiet or loud, he always manages to give soul stirring performances in his songs! "Movement" is not revolutionary like his previous hit, but is instead more fluent and more intimate. Regardless of what kinds of songs he puts out, the "movement" of Hozier's music will last a long time!
Showing posts with label Deer Tick. Show all posts
Showing posts with label Deer Tick. Show all posts
Wednesday, November 28, 2018
Wednesday, November 8, 2017
New songs for November 8th 2017
here they are:
"Glow" by Big Head Todd and The Monsters: Colorado jam band quartet, Big Head Todd and The Monsters, have been around for almost 3 decades. 2017 looks like it's gonna be their biggest year since 1997, during which they had a few alternative and adult alternative radio hits with songs like "Boom Boom", "Please Don't Tell Her", and "Resignation Superman". They've been in and out ever since then, but usually only one song from each subsequent album has become successful. During summer of this year, the rocking, joyous, "Damaged One" was already a big adult alt radio hit, and with "Glow", it looks like they'll be dominating fall of this year on adult alt radio as well. "Glow" is a rocker, like most of their material, but it has a bit more of an anthemic, somewhat U2-ish flavor, giving it a marked contrast to the rest of BHTATM's material. "Why don't you glow?" urges lead singer "Big Head" Todd Park Mohr. He certainly glows in this song, along with the rest of the band!
"On And On" by Curtis Harding: The last few years have not been good for post-millennial soul musicians who sound like they're from the '60s and early '70s. We lost Sharon Jones last November, and we lost Charles Bradley this summer. Thankfully, people like Curtis Harding have been working to keep the spirit of neo-soul alive and well! Harding is one of the most eclectic neo-soul musicians of the 2010's, having also dabbled in neo-psychedelia, punk, blues, and even spoken word on occasion. "On And On" is not Harding's first song, but it does appear to be his breakthrough, and what a breakthrough it is! It's a catchy, relentless song about never giving up. Groove on, bro!
"Rorschach" by Typhoon: You know from the title alone this is gonna be kind of a weird one! (Rorschach was the name of the guy who had those inkblot paintings that were supposed to look like different things to different people). It kind of is. It's a song that manages to be both sad and adventurous, and it comes off sounding like an unlikely cross between Death Cab for Cutie and The Pixies, with some odd, distorted vocals in between parts of the song. The song appears to be about uncertainty, and it gets its title from the lead singer mentioning how what he was looking at was really "blood spilled on the canvas (he) admired just like some Rorschach painting".
"Sea of Clouds" by Deer Tick: Roots-y indie-rockers, Deer Tick, seem to take a lot of inspiration from Neil Young, ranging from their veering between raging electric songs and sweet acoustic songs to the rather depressing subject matter of most of their songs. The booziness of Deer Tick might also bring to mind groups like The Replacements, who were also known for veering between the hard and the soft. Deer Tick already had a scorching rocker for this summer with "Jumpstarting". As we head into the mellow cool of autumn, Deer Tick now have the softer and more bittersweet, "Sea of Clouds", sounding a great deal like something from Neil Young's "Harvest" album, and a bit like The Replacements' somber but soothing folk-rock song, "Skyway", as well. Clocking in at a total of 5 and a half minutes, there appear to be two distinct halves to "Sea of Clouds". The first half has no percussion, and percussion gets added in during the second half.
"Glow" by Big Head Todd and The Monsters: Colorado jam band quartet, Big Head Todd and The Monsters, have been around for almost 3 decades. 2017 looks like it's gonna be their biggest year since 1997, during which they had a few alternative and adult alternative radio hits with songs like "Boom Boom", "Please Don't Tell Her", and "Resignation Superman". They've been in and out ever since then, but usually only one song from each subsequent album has become successful. During summer of this year, the rocking, joyous, "Damaged One" was already a big adult alt radio hit, and with "Glow", it looks like they'll be dominating fall of this year on adult alt radio as well. "Glow" is a rocker, like most of their material, but it has a bit more of an anthemic, somewhat U2-ish flavor, giving it a marked contrast to the rest of BHTATM's material. "Why don't you glow?" urges lead singer "Big Head" Todd Park Mohr. He certainly glows in this song, along with the rest of the band!
"On And On" by Curtis Harding: The last few years have not been good for post-millennial soul musicians who sound like they're from the '60s and early '70s. We lost Sharon Jones last November, and we lost Charles Bradley this summer. Thankfully, people like Curtis Harding have been working to keep the spirit of neo-soul alive and well! Harding is one of the most eclectic neo-soul musicians of the 2010's, having also dabbled in neo-psychedelia, punk, blues, and even spoken word on occasion. "On And On" is not Harding's first song, but it does appear to be his breakthrough, and what a breakthrough it is! It's a catchy, relentless song about never giving up. Groove on, bro!
"Rorschach" by Typhoon: You know from the title alone this is gonna be kind of a weird one! (Rorschach was the name of the guy who had those inkblot paintings that were supposed to look like different things to different people). It kind of is. It's a song that manages to be both sad and adventurous, and it comes off sounding like an unlikely cross between Death Cab for Cutie and The Pixies, with some odd, distorted vocals in between parts of the song. The song appears to be about uncertainty, and it gets its title from the lead singer mentioning how what he was looking at was really "blood spilled on the canvas (he) admired just like some Rorschach painting".
"Sea of Clouds" by Deer Tick: Roots-y indie-rockers, Deer Tick, seem to take a lot of inspiration from Neil Young, ranging from their veering between raging electric songs and sweet acoustic songs to the rather depressing subject matter of most of their songs. The booziness of Deer Tick might also bring to mind groups like The Replacements, who were also known for veering between the hard and the soft. Deer Tick already had a scorching rocker for this summer with "Jumpstarting". As we head into the mellow cool of autumn, Deer Tick now have the softer and more bittersweet, "Sea of Clouds", sounding a great deal like something from Neil Young's "Harvest" album, and a bit like The Replacements' somber but soothing folk-rock song, "Skyway", as well. Clocking in at a total of 5 and a half minutes, there appear to be two distinct halves to "Sea of Clouds". The first half has no percussion, and percussion gets added in during the second half.
Wednesday, July 19, 2017
New songs for July 19th 2017
here they are:
"Find Yourself" by Lukas Nelson and The Promise of the Real: Lukas' super famous dad, Willie, might be best known for country music, but both of the Nelsons have proven themselves to be more than that over the years. Back in 2012, I first got the opportunity to hear Lukas and his spicy, energy fueled, Southern rock styled song, "Wasted". "Find Yourself", the latest song Lukas has put out, has a bit more of a soulful flavor to it. More aptly, it is a blend of soul, rock, and country, with plenty of bluesy licks sandwiched in between to keep listeners on their toes! The song has nothing to do with philosophy or "finding yourself" in the manner that you might think it suggests from the title. Instead, it has a more straightforward meaning revolving around taking back the love you think you deserve.
"Jumpstarting" by Deer Tick: A bar band rock song that suggests a sloppier Springsteen in some ways, Deer Tick's "Jumpstarting" is a rollicking song that is actually about companionship more than anything else. Many of their songs (even the ones they've done for the Christmas season) involve the subject of drinking in some way. This one does too, but in a different way than most of their material does. "Jumpstarting", essentially, is a message that the lead singer sent out to his drinking buddy that he'd be there for him through good times and bad.
"Lay It On Me" by Vance Joy: When Vance Joy debuted in late summer 2013 with "Riptide", I got the impression he was a surf-folk musician in the manner of Jack Johnson, but with more melancholy lyrics. The more I got to know Vance's music, though, the more I realized that most of his other material is as melancholy as his lyrics. "Lay It On Me", his first single from his second album, continues in this direction. There is an uplifting, brassy part during the chorus of the song, but it doesn't mask how much Vance feels about how much he has failed as a lover. Being able to let out those feelings is what music is all about, though!
"Find Yourself" by Lukas Nelson and The Promise of the Real: Lukas' super famous dad, Willie, might be best known for country music, but both of the Nelsons have proven themselves to be more than that over the years. Back in 2012, I first got the opportunity to hear Lukas and his spicy, energy fueled, Southern rock styled song, "Wasted". "Find Yourself", the latest song Lukas has put out, has a bit more of a soulful flavor to it. More aptly, it is a blend of soul, rock, and country, with plenty of bluesy licks sandwiched in between to keep listeners on their toes! The song has nothing to do with philosophy or "finding yourself" in the manner that you might think it suggests from the title. Instead, it has a more straightforward meaning revolving around taking back the love you think you deserve.
"Jumpstarting" by Deer Tick: A bar band rock song that suggests a sloppier Springsteen in some ways, Deer Tick's "Jumpstarting" is a rollicking song that is actually about companionship more than anything else. Many of their songs (even the ones they've done for the Christmas season) involve the subject of drinking in some way. This one does too, but in a different way than most of their material does. "Jumpstarting", essentially, is a message that the lead singer sent out to his drinking buddy that he'd be there for him through good times and bad.
"Lay It On Me" by Vance Joy: When Vance Joy debuted in late summer 2013 with "Riptide", I got the impression he was a surf-folk musician in the manner of Jack Johnson, but with more melancholy lyrics. The more I got to know Vance's music, though, the more I realized that most of his other material is as melancholy as his lyrics. "Lay It On Me", his first single from his second album, continues in this direction. There is an uplifting, brassy part during the chorus of the song, but it doesn't mask how much Vance feels about how much he has failed as a lover. Being able to let out those feelings is what music is all about, though!
Wednesday, July 31, 2013
New songs for July 31st, 2013
here they are:
"Better Man" by Beth Hart: Not to be confused with the Pearl Jam song of the same name, Beth Hart's "Better Man" continues in the blues-y direction that Beth has been more actively pursuing in the 2010's. Beneath its pop-y beat and uptempo piano sound beat the heart of "Better Man", which can be defined by Beth's gutsy, passionate vocals, and its electric guitar based sound that blends country, rock, and blues into one spicy, catchy musical gumbo! A sizzling ode to whoever Beth's current lover happens to be, "Better Man" is great at capturing the jubilation anyone feels when they finally find the one they want to spend the rest of their life with!
"The Dream's In the Ditch" by Deer Tick: Deer Tick are one of the more roots-y indie bands whose sound owes more to Bob Dylan and Neil Young than it does The Velvet Underground and The Beatles. As far as I can tell, though, between their 2011 song, "Main Street", and their most recent song, "The Dream's In the Ditch", one of Deer Tick's biggest influences is none other than The Boss himself, Bruce Springsteen! "The Dream's In the Ditch" evokes early Springsteen, in particular, with its vaguely "Thunder Road"-ish chimes and guitars (though that colorful, tinkling piano solo in the middle is purely Deer Tick's own!) The subject matter of "The Dream's In the Ditch" is not uncommon to the roots-y side of classic rock either. It's basically a song about the ups and downs of touring on the road, not unlike Jackson Browne's "Running On Empty", or The Grateful Dead's "Truckin'". Happy trails!!
"Thirst" by City and Colour: It seems as though Canada's one man indie band, Dallas Green (or "City and Colour"), tired of the neo-folk-rock schtick about a year before it became big on alt-rock stations. He started with the folks-y "Sleeping Sickness", and has gone for a fuzzier, more rock based sound ever since (with the exception of the largely acoustic, "The Grand Optimist"). Dallas' latest song, "Thirst", continues in the more contemporary rock 'n' roll direction that he seems to want to become more known for. "Thirst" has what could be called a "White Stripes lite" distortion in its guitar sound, while the beat of the song is closer to Gary Numan's proto-synth-pop classic, "Cars". The lyrics in "Thirst" would not seem out of place for Dallas' former band, the hardcore "screamo" group, Alexisonfire (Alex is on fire), with its mentions of "fates worse than death", "an ocean of anger", and being "gracefully cursed".
"Walk Us Uptown" by Elvis Costello, featuring The Roots: For a musician, "The Three R's" are probably rock, rhythm, and rap, and this song just happens to have all three!! And you thought that the coolest connects between rock and rap ended with The Beastie Boys, and Run-D.M.C. and Aerosmith's collaboration of "Walk This Way"?! Well, think again!! Rocker Elvis Costello and hip-hop group, The Roots (both of whom are quite eclectic for their respective genres), have now come together in an unlikely, but quite catchy musical teaming, in "Walk Us Uptown". The song marks a high point for both musicians, with its sleek, street-smart vibe, and its seemingly effortless combining of jazzy horns, reggae influenced rhythm guitars, the occasional use of shattering, blues influenced lead guitars, and its smooth hip-hop beat. Is it just me, or has Elvis Costello gotten hipper as he's gotten older?!
"Where We Came From" by Phillip Phillips: "American Idol"'s number one musical oddity is now up for a THIRD hit song on adult alt radio stations. If it were any other contestant on the show, I probably wouldn't care, but this is Phillip Phillips we're talking about here, who has clearly mastered the Mumford-ian way of playing acoustic guitar in songs like "Home" and "Gone Gone Gone". His third major song, "Where We Came From", doesn't have the graceful, finger-picked sound of his other two songs, instead opting for more of a half folk, half blues type sound, a la Dave Matthews (supposedly one of Phillip's biggest influences). The cello in "Where We Came From" adds a nice touch to it, too, making it distinguishable from his other material. The "precious" element in many of his songs shows up more in the lyrics than the song itself in "Where We Came From", especially given its nature related imagery (i.e. mountains, shores, moon, sun, etc.) in the chorus. Once again, Phillips has won peoples' hearts more than he has a reality show contest, and I hope he continues to do so!
"Better Man" by Beth Hart: Not to be confused with the Pearl Jam song of the same name, Beth Hart's "Better Man" continues in the blues-y direction that Beth has been more actively pursuing in the 2010's. Beneath its pop-y beat and uptempo piano sound beat the heart of "Better Man", which can be defined by Beth's gutsy, passionate vocals, and its electric guitar based sound that blends country, rock, and blues into one spicy, catchy musical gumbo! A sizzling ode to whoever Beth's current lover happens to be, "Better Man" is great at capturing the jubilation anyone feels when they finally find the one they want to spend the rest of their life with!
"The Dream's In the Ditch" by Deer Tick: Deer Tick are one of the more roots-y indie bands whose sound owes more to Bob Dylan and Neil Young than it does The Velvet Underground and The Beatles. As far as I can tell, though, between their 2011 song, "Main Street", and their most recent song, "The Dream's In the Ditch", one of Deer Tick's biggest influences is none other than The Boss himself, Bruce Springsteen! "The Dream's In the Ditch" evokes early Springsteen, in particular, with its vaguely "Thunder Road"-ish chimes and guitars (though that colorful, tinkling piano solo in the middle is purely Deer Tick's own!) The subject matter of "The Dream's In the Ditch" is not uncommon to the roots-y side of classic rock either. It's basically a song about the ups and downs of touring on the road, not unlike Jackson Browne's "Running On Empty", or The Grateful Dead's "Truckin'". Happy trails!!
"Thirst" by City and Colour: It seems as though Canada's one man indie band, Dallas Green (or "City and Colour"), tired of the neo-folk-rock schtick about a year before it became big on alt-rock stations. He started with the folks-y "Sleeping Sickness", and has gone for a fuzzier, more rock based sound ever since (with the exception of the largely acoustic, "The Grand Optimist"). Dallas' latest song, "Thirst", continues in the more contemporary rock 'n' roll direction that he seems to want to become more known for. "Thirst" has what could be called a "White Stripes lite" distortion in its guitar sound, while the beat of the song is closer to Gary Numan's proto-synth-pop classic, "Cars". The lyrics in "Thirst" would not seem out of place for Dallas' former band, the hardcore "screamo" group, Alexisonfire (Alex is on fire), with its mentions of "fates worse than death", "an ocean of anger", and being "gracefully cursed".
"Walk Us Uptown" by Elvis Costello, featuring The Roots: For a musician, "The Three R's" are probably rock, rhythm, and rap, and this song just happens to have all three!! And you thought that the coolest connects between rock and rap ended with The Beastie Boys, and Run-D.M.C. and Aerosmith's collaboration of "Walk This Way"?! Well, think again!! Rocker Elvis Costello and hip-hop group, The Roots (both of whom are quite eclectic for their respective genres), have now come together in an unlikely, but quite catchy musical teaming, in "Walk Us Uptown". The song marks a high point for both musicians, with its sleek, street-smart vibe, and its seemingly effortless combining of jazzy horns, reggae influenced rhythm guitars, the occasional use of shattering, blues influenced lead guitars, and its smooth hip-hop beat. Is it just me, or has Elvis Costello gotten hipper as he's gotten older?!
"Where We Came From" by Phillip Phillips: "American Idol"'s number one musical oddity is now up for a THIRD hit song on adult alt radio stations. If it were any other contestant on the show, I probably wouldn't care, but this is Phillip Phillips we're talking about here, who has clearly mastered the Mumford-ian way of playing acoustic guitar in songs like "Home" and "Gone Gone Gone". His third major song, "Where We Came From", doesn't have the graceful, finger-picked sound of his other two songs, instead opting for more of a half folk, half blues type sound, a la Dave Matthews (supposedly one of Phillip's biggest influences). The cello in "Where We Came From" adds a nice touch to it, too, making it distinguishable from his other material. The "precious" element in many of his songs shows up more in the lyrics than the song itself in "Where We Came From", especially given its nature related imagery (i.e. mountains, shores, moon, sun, etc.) in the chorus. Once again, Phillips has won peoples' hearts more than he has a reality show contest, and I hope he continues to do so!
Wednesday, September 14, 2011
new songs for September 14th, 2011
here they are:
"Live It Up" by Chris Isaak: For those who forgot Chris Isaak is more than just the seductive balladeer who did smooth songs like "Wicked Game", his latest song, "Live It Up" is a reminder that Chris also has a rockin' side that easily brings to mind the pioneers of rock 'n' roll like Elvis Presley and Jerry Lee Lewis! Frankly I'm quite surprised Chris's most recent song sounds the way it does, as he seemed to focus almost entirely on ballads throughout the 2000's ("Let Me Down Easy", "King Without A Castle", and "We Let Her Down" are three such examples). As someone who thought his sound got increasingly more generic with each attempt at a slower song he did in the 2000's, "Live It Up" is quite a refreshing song to hear!! '50s rock 'n' roll music was one of the first forms of popular music I was exposed to as a kid, so "Live It Up" is also very fun and nostalgic for me to hear! I hope Chris focuses more on his rock 'n' roll side as the 2010's progress!!
"Miss K" by Deer Tick: There have been plenty of bands that have attempted to emulate the "jam band" side of The Grateful Dead (Phish and Widespread Panic are two of the best known in this category), but not many are known for evoking The Dead's more country-folk-rock influenced side. "Miss K" by alt-country rockers Deer Tick might just be a first, then. Musically, it seems like what could have been the missing cut from The Dead's "American Beauty", with its slight resemblance to songs like "Friend of the Devil" and "Ripple" (though the beat of the song sounds more like "Bertha", which is from a different album and centers more around electric guitar than it does acoustic). Even the vocalist sounds a little like Jerry Garcia to me (though that comparison might be stretching it a bit for some people). So what are sleazy lyrics like "talk dirty, turn me on" doing in an otherwise beautiful song?! Oh well, "Miss K" is still very much worth listening to, I think!
"Second Song" by TV on the Radio: Really, they couldn't come up with a better title?! Don't get me wrong, TV on the Radio is great (well, their latest songs are anyway), but "Second Song"?! The words "second song" aren't found anywhere in the lyrics, and it is actually the FIRST song off their CD "Nine Types of Light". The only way in which the title is appropriate is that it IS the "second song" they've released as a SINGLE from "Nine Types of Light". Well, now that I've gotten that out of the way, on with the song itself. I can't help but be reminded of how "Alive And Kicking" by '80s new wave group Simple Minds might sound if it came out in the 21st century, as it uses practically the same chords and rhythm (though "Second Song" has a B flat that "Alive And Kicking" doesn't have). TVOTR also manages to set "Second Song" apart from "Alive And Kicking" with the saxophone solos that happen during various parts of the song. As for the lyrics? Well, let's just say that when Tunde Adebimpe sings parts of the song like, "Shaking hands move to tear my face away/And when the night comes I'm flaming like a pyro", it bears similarity to a song about a certain drug beginning with "H" that the grandaddy of all alt-rock bands, The Velvet Underground, sang about on their debut.
"Live It Up" by Chris Isaak: For those who forgot Chris Isaak is more than just the seductive balladeer who did smooth songs like "Wicked Game", his latest song, "Live It Up" is a reminder that Chris also has a rockin' side that easily brings to mind the pioneers of rock 'n' roll like Elvis Presley and Jerry Lee Lewis! Frankly I'm quite surprised Chris's most recent song sounds the way it does, as he seemed to focus almost entirely on ballads throughout the 2000's ("Let Me Down Easy", "King Without A Castle", and "We Let Her Down" are three such examples). As someone who thought his sound got increasingly more generic with each attempt at a slower song he did in the 2000's, "Live It Up" is quite a refreshing song to hear!! '50s rock 'n' roll music was one of the first forms of popular music I was exposed to as a kid, so "Live It Up" is also very fun and nostalgic for me to hear! I hope Chris focuses more on his rock 'n' roll side as the 2010's progress!!
"Miss K" by Deer Tick: There have been plenty of bands that have attempted to emulate the "jam band" side of The Grateful Dead (Phish and Widespread Panic are two of the best known in this category), but not many are known for evoking The Dead's more country-folk-rock influenced side. "Miss K" by alt-country rockers Deer Tick might just be a first, then. Musically, it seems like what could have been the missing cut from The Dead's "American Beauty", with its slight resemblance to songs like "Friend of the Devil" and "Ripple" (though the beat of the song sounds more like "Bertha", which is from a different album and centers more around electric guitar than it does acoustic). Even the vocalist sounds a little like Jerry Garcia to me (though that comparison might be stretching it a bit for some people). So what are sleazy lyrics like "talk dirty, turn me on" doing in an otherwise beautiful song?! Oh well, "Miss K" is still very much worth listening to, I think!
"Second Song" by TV on the Radio: Really, they couldn't come up with a better title?! Don't get me wrong, TV on the Radio is great (well, their latest songs are anyway), but "Second Song"?! The words "second song" aren't found anywhere in the lyrics, and it is actually the FIRST song off their CD "Nine Types of Light". The only way in which the title is appropriate is that it IS the "second song" they've released as a SINGLE from "Nine Types of Light". Well, now that I've gotten that out of the way, on with the song itself. I can't help but be reminded of how "Alive And Kicking" by '80s new wave group Simple Minds might sound if it came out in the 21st century, as it uses practically the same chords and rhythm (though "Second Song" has a B flat that "Alive And Kicking" doesn't have). TVOTR also manages to set "Second Song" apart from "Alive And Kicking" with the saxophone solos that happen during various parts of the song. As for the lyrics? Well, let's just say that when Tunde Adebimpe sings parts of the song like, "Shaking hands move to tear my face away/And when the night comes I'm flaming like a pyro", it bears similarity to a song about a certain drug beginning with "H" that the grandaddy of all alt-rock bands, The Velvet Underground, sang about on their debut.
Wednesday, February 9, 2011
It's my first Blog-i-versary!!! (kind of)
I first started this blog on February 11th of last year (but that's not a Wednesday), so today I'm celebrating my first blog-i-versary!!! With 8 cool new tracks to review, too! So here they are:
"Helplessness Blues" by Fleet Foxes: I love how nostalgic and simply beautiful Fleet Foxes' music sounds. "White Winter Hymnal" has a very dreamy sound, and "Mykonos" has remarkably similar chord structure to The Mamas and Papas' "California Dreamin'", another personal fave of mine. That being said, I was pretty excited to hear Fleet Foxes released a new track this year!! "Helplessness Blues", once again, evokes the same dreamy, nostalgic qualities that most of their songs tend to. It almost sounds like it uses the same tuning as Joni Mitchell's "You Turn Me On I'm A Radio", and the mood of the song even seems somewhat Joni-like (and Dylanesque). Fleet Foxes have once again managed to win my heart over, and I hope they continue to do so!!
"Let the Light In" by Bob Schneider: Bob Schneider has been around for longer on the music scene than most people probably think he has been (since around 2003). It wasn't until 2009, though, that he started getting attention with songs like the marvelous, enchanting indie-pop/adult alt fave "40 Dogs (Like Romeo and Juliet)" and the more subdued, somewhat Dave Matthews-ish "The Bringdown". I guess adult alt radio liked Schneider enough that they've decided to give him another chance. "Let the Light In", amazingly, lives up to its title. It's not bittersweet like "40 Dogs" or melancholy like "The Bringdown", but instead is a rather happy song, with sunny synths and exciting xylophones to set the mood! I wasn't sure whether to expect indie-pop or folk-pop with "Let the Light In", as Schneider has been known to do both, but this song meets somewhere in between, and I think I like that!
"Me Me Me" by Middle Brother: Imagine what it would be like if alumni from three somewhat roots-y indie rock groups (Delta Spirit, Deer Tick, and Dawes) formed into one supergroup and somehow landed a guest spot on "Happy Days". What would that be like?!? Well, wonder no more, for Middle Brother is a supergroup comprised of members of all three of the bands I just mentioned, and their first big hit (among the indie/adult alt crowds), "Me Me Me", sounds more like a song you'd expect to hear from Elvis Presley or Jerry Lee Lewis (albeit with a "fuzz" guitar solo in the middle) than you would from three bands who typically bear more similarity to acts like Bright Eyes, Wilco, and My Morning Jacket. It's a darn catchy tune that I would definitely like to hear more of for at least the late winter/Spring season!! Between the rockin' boogie vibe of this song and the Joni Mitchell-esque folk-rock of "Helplessness Blues" I can't decide which is my fave pick of the week!!
"Poison And Wine" by The Civil Wars: A bit of a late review here, but please bear with me. This song could easily be called "Falling Slowly - redux". It's a melancholy folk-rock tune that features a duet between a guy and a girl (though unlike Glen and Marketa, of "Falling Slowly" fame, I don't think The Civil Wars are Irish). "Poison and Wine" definitely seems like it was intended to be a tearjerker, yet I only get that emotion from the song about halfway. I guess "Falling Slowly" had such an authentically emotional grip on me that I didn't expect any song or band to try and copy it, yet lo and behold, The Civil Wars' "Poison and Wine" shows up about four years later! Perhaps I shouldn't care too much if one song is copying (intentionally or not) another, as I do typically love songs like "Poison and Wine"!
"The Roller" by Beady Eye: Hmmmm....who's "Beady Eye"?!? This sounds more like an Oasis tune. That's because, technically, this IS an Oasis tune. Beady Eye is the side project of one of the Gallagher brothers (though I forget which one at the moment), and "The Roller" really doesn't sound too different at all from the typical Oasis song. Oasis are one of my fave bands, though, so no problem here! The jaunty, toe-tapping feel of "The Roller" also helps to give it a little bit of flavor and distinction from most Oasis tunes (besides "Lyla" which had practically the same rhythm).
"Too Dramatic" by Ra Ra Riot: Ra Ra Riot's follow-up to "Boy" sounds like...well..."Boy". But it's still worth reviewing because it's a tune that's been catchy enough to get stuck in my head! And plus you gotta love a band who combines the reggae-tinged new wave sound of The Police with the "orchestral rock" vibes of groups like Arcade Fire! Perhaps one advantage "Too Dramatic" has over "Boy" is that the guitar seems to be used throughout the song (though "Boy" had a much more distinct guitar solo), and, since I play guitar, this does make a difference for me.
"When I'm Alone" by Lissie: Between this song and Lissie's previous hit, "In Sleep", I'm pretty convinced that Lissie is on her way to becoming the indie world's answer to Alanis Morissette! Both songs manage to combine a pop-y melody with minor key chords and world-weary, frustrated lyrics. "When I'm Alone" is a bit more of an intense tune than "In Sleep", though, I think, not only because of its more frenzied rhythm, but also because of the rushed way she delivers the lyrics in the verses, almost as though out of desperation. "When I'm Alone" uses a rhythmic technique that isn't really that common in pop/rock music these days, and the way Lissie manages to keep steady vocal patterns in the chorus over its frenetic instrumentation makes it all the more worth listening to!
"World Gone Crazy" by The Doobie Brothers: Back in the summer of last year, an updated version of The Doobies' 1972 song "Nobody" started (surprisingly) hitting the adult alt airwaves and (even MORE surprisingly) hit the Top 20 of the adult alt charts somewhere around mid-fall of last year. What made "Nobody" such a cool song was that it sounded like a vintage Doobie Brothers tune (the kind you'd be likely to hear on a classic rock station, not the Michael McDonald era Doobies). "World Gone Crazy" doesn't quite have the same vibe. It sounds a bit more like an updated version of an Eagles song (only more sax heavy). It does have two saving graces, though. First off, it's a catchy tune (I can't say that about too many of the Michael McDonald songs, save for possibly "Takin' It to the Streets"), but the best part is that the lead vocalist was the one who sang on all the pre-McDonald tracks (I forget his name, but I like him MUCH better than McDonald).
"Helplessness Blues" by Fleet Foxes: I love how nostalgic and simply beautiful Fleet Foxes' music sounds. "White Winter Hymnal" has a very dreamy sound, and "Mykonos" has remarkably similar chord structure to The Mamas and Papas' "California Dreamin'", another personal fave of mine. That being said, I was pretty excited to hear Fleet Foxes released a new track this year!! "Helplessness Blues", once again, evokes the same dreamy, nostalgic qualities that most of their songs tend to. It almost sounds like it uses the same tuning as Joni Mitchell's "You Turn Me On I'm A Radio", and the mood of the song even seems somewhat Joni-like (and Dylanesque). Fleet Foxes have once again managed to win my heart over, and I hope they continue to do so!!
"Let the Light In" by Bob Schneider: Bob Schneider has been around for longer on the music scene than most people probably think he has been (since around 2003). It wasn't until 2009, though, that he started getting attention with songs like the marvelous, enchanting indie-pop/adult alt fave "40 Dogs (Like Romeo and Juliet)" and the more subdued, somewhat Dave Matthews-ish "The Bringdown". I guess adult alt radio liked Schneider enough that they've decided to give him another chance. "Let the Light In", amazingly, lives up to its title. It's not bittersweet like "40 Dogs" or melancholy like "The Bringdown", but instead is a rather happy song, with sunny synths and exciting xylophones to set the mood! I wasn't sure whether to expect indie-pop or folk-pop with "Let the Light In", as Schneider has been known to do both, but this song meets somewhere in between, and I think I like that!
"Me Me Me" by Middle Brother: Imagine what it would be like if alumni from three somewhat roots-y indie rock groups (Delta Spirit, Deer Tick, and Dawes) formed into one supergroup and somehow landed a guest spot on "Happy Days". What would that be like?!? Well, wonder no more, for Middle Brother is a supergroup comprised of members of all three of the bands I just mentioned, and their first big hit (among the indie/adult alt crowds), "Me Me Me", sounds more like a song you'd expect to hear from Elvis Presley or Jerry Lee Lewis (albeit with a "fuzz" guitar solo in the middle) than you would from three bands who typically bear more similarity to acts like Bright Eyes, Wilco, and My Morning Jacket. It's a darn catchy tune that I would definitely like to hear more of for at least the late winter/Spring season!! Between the rockin' boogie vibe of this song and the Joni Mitchell-esque folk-rock of "Helplessness Blues" I can't decide which is my fave pick of the week!!
"Poison And Wine" by The Civil Wars: A bit of a late review here, but please bear with me. This song could easily be called "Falling Slowly - redux". It's a melancholy folk-rock tune that features a duet between a guy and a girl (though unlike Glen and Marketa, of "Falling Slowly" fame, I don't think The Civil Wars are Irish). "Poison and Wine" definitely seems like it was intended to be a tearjerker, yet I only get that emotion from the song about halfway. I guess "Falling Slowly" had such an authentically emotional grip on me that I didn't expect any song or band to try and copy it, yet lo and behold, The Civil Wars' "Poison and Wine" shows up about four years later! Perhaps I shouldn't care too much if one song is copying (intentionally or not) another, as I do typically love songs like "Poison and Wine"!
"The Roller" by Beady Eye: Hmmmm....who's "Beady Eye"?!? This sounds more like an Oasis tune. That's because, technically, this IS an Oasis tune. Beady Eye is the side project of one of the Gallagher brothers (though I forget which one at the moment), and "The Roller" really doesn't sound too different at all from the typical Oasis song. Oasis are one of my fave bands, though, so no problem here! The jaunty, toe-tapping feel of "The Roller" also helps to give it a little bit of flavor and distinction from most Oasis tunes (besides "Lyla" which had practically the same rhythm).
"Too Dramatic" by Ra Ra Riot: Ra Ra Riot's follow-up to "Boy" sounds like...well..."Boy". But it's still worth reviewing because it's a tune that's been catchy enough to get stuck in my head! And plus you gotta love a band who combines the reggae-tinged new wave sound of The Police with the "orchestral rock" vibes of groups like Arcade Fire! Perhaps one advantage "Too Dramatic" has over "Boy" is that the guitar seems to be used throughout the song (though "Boy" had a much more distinct guitar solo), and, since I play guitar, this does make a difference for me.
"When I'm Alone" by Lissie: Between this song and Lissie's previous hit, "In Sleep", I'm pretty convinced that Lissie is on her way to becoming the indie world's answer to Alanis Morissette! Both songs manage to combine a pop-y melody with minor key chords and world-weary, frustrated lyrics. "When I'm Alone" is a bit more of an intense tune than "In Sleep", though, I think, not only because of its more frenzied rhythm, but also because of the rushed way she delivers the lyrics in the verses, almost as though out of desperation. "When I'm Alone" uses a rhythmic technique that isn't really that common in pop/rock music these days, and the way Lissie manages to keep steady vocal patterns in the chorus over its frenetic instrumentation makes it all the more worth listening to!
"World Gone Crazy" by The Doobie Brothers: Back in the summer of last year, an updated version of The Doobies' 1972 song "Nobody" started (surprisingly) hitting the adult alt airwaves and (even MORE surprisingly) hit the Top 20 of the adult alt charts somewhere around mid-fall of last year. What made "Nobody" such a cool song was that it sounded like a vintage Doobie Brothers tune (the kind you'd be likely to hear on a classic rock station, not the Michael McDonald era Doobies). "World Gone Crazy" doesn't quite have the same vibe. It sounds a bit more like an updated version of an Eagles song (only more sax heavy). It does have two saving graces, though. First off, it's a catchy tune (I can't say that about too many of the Michael McDonald songs, save for possibly "Takin' It to the Streets"), but the best part is that the lead vocalist was the one who sang on all the pre-McDonald tracks (I forget his name, but I like him MUCH better than McDonald).
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