here they are:
"Are You Ready to Love Me?" by The War and Treaty: The African-American husband and wife duo of Michael and Tanya Trotter, known together as The War and Treaty, are quite a powerful duo! Combining folk, gospel, and blues, their breakthrough single, "Are You Ready to Love Me?", sounds like a song from another time, albeit with a timeless quality one might find in musicians like Aretha Franklin. The chorus of the song recalls Dusty Springfield's "Son of a Preacher Man", while the rest of it has a charming magic all its own. Though the message of the song may sound like a simple one, it actually revolves around just what a deep commitment it is to fall in love with someone. Michael was actually a war veteran before he met Tanya, unbeknownst to her, and he genuinely wanted to know if she was ready to fall in love with someone who had been through enough stress to affect him the rest of his life. Love isn't always easy, is it?!
"Come For Me" by Sunflower Bean: With "Come For Me", indie-pop trio Sunflower Bean have made the unlikely leap from Fleetwood Mac comparisons to Prince comparisons. "Come For Me" reflects the Purple One's ability to seamlessly combine funk and rock with a power pop flavor. Perhaps the Prince influence here was intentional since, like Prince's music, "Come For Me" is a song that celebrates sexual freedom. "Do you really wanna come for me? Do you really wanna waste my time?" lead singer Julia Cummings pleads earnestly yet powerfully during the chorus. What she's asking, essentially, is if the listener of the song is willing to take her as she is. You go, girl!
"Everything You Need" by Doyle Bramhall II (featuring Eric Clapton): Our entries for this week are bookended by soulful songs! Blues-rock newbie Doyle Bramhall II and blues-rock legend Eric Clapton combine forces in this song to produce a funky, spirited, passionate slice of funk-rock with "Everything You Need". Unlike the previous two songs, there is no "deep" message hidden within this one. It's just an earnest plea for love. Nothin' wrong with that, though. Plus, Clapton is featured on this song, albeit not until the last few seconds of it.
Showing posts with label Eric Clapton. Show all posts
Showing posts with label Eric Clapton. Show all posts
Wednesday, November 21, 2018
Wednesday, April 6, 2016
New songs for April 6th, 2016
here they are:
"Can't Let You Do It" by Eric Clapton: In recent years (roughly since this blog started up, actually) Eric Clapton has been successful at escaping soppy love ballads like "Wonderful Tonight" and returning back to his blues-y roots. The guitar legend's latest tune, "Can't Let You Do It", is yet another of his blues-rock songs. It has rockin' riffs and a funky backbeat to boot! In some respects, it almost sounds like a more rock-oriented version of Stevie Wonder's "Superstition", as both songs share a similar rhythmic pattern and are also both in the key of E.
"Handclap" by Fitz and The Tantrums: How did Fitz and The Tantrums go from Motown revivalists to alt-pop chart-toppers?! That may be a question that nobody knows the answer to! What I do know, however, is that FATT's latest song, "Handclap", does have one thing in common with pretty much all the songs in their catalog. It's catchy! The title alone seems to indicate this, but once you get into the song and hear the chorus, which contains both actual hand clapping and the words "I can make your hands clap", you probably won't be able to get it out of your head (or out of your feet!) This song, to quote another recent hit song, is "all about that bass". The actual bass, that is. The thumping of the bass pretty much defines this song, a song which could be said to be the missing link between Gorillaz and Gwen Stefani.
"Trailer" by Mudcrutch: Tom Petty's old backing group before The Heartbreakers, in case you were wondering who Mudcrutch was. In spite of this, Mudcrutch never had a successful album until 2008, spawning two adult alt radio hits with "Scare Easy" and a cover of The Byrds' "Lover of the Bayou". Why it's taken them 8 years to record a followup album is anyone's guess, but better late than never. If Mudcrutch had any songs under their belt before their albums got released that sounded simliar to their known material, it could be the reason behind why some of Petty's biggest hits, such as "American Girl" and "The Waiting", have a bit of a Byrds-y sound, as a lot of Mudcrutch's songs sound combines the jangle of The Byrds' material with the more ragged, roots-y sound of Neil Young. "Trailer" is pretty much more of the same from Mudcrutch, more roots and more jangle. It is perhaps worth noting, though, that this song is also full of harmonica solos, which weren't heard in "Scare Easy" or "Lover of the Bayou".
"Can't Let You Do It" by Eric Clapton: In recent years (roughly since this blog started up, actually) Eric Clapton has been successful at escaping soppy love ballads like "Wonderful Tonight" and returning back to his blues-y roots. The guitar legend's latest tune, "Can't Let You Do It", is yet another of his blues-rock songs. It has rockin' riffs and a funky backbeat to boot! In some respects, it almost sounds like a more rock-oriented version of Stevie Wonder's "Superstition", as both songs share a similar rhythmic pattern and are also both in the key of E.
"Handclap" by Fitz and The Tantrums: How did Fitz and The Tantrums go from Motown revivalists to alt-pop chart-toppers?! That may be a question that nobody knows the answer to! What I do know, however, is that FATT's latest song, "Handclap", does have one thing in common with pretty much all the songs in their catalog. It's catchy! The title alone seems to indicate this, but once you get into the song and hear the chorus, which contains both actual hand clapping and the words "I can make your hands clap", you probably won't be able to get it out of your head (or out of your feet!) This song, to quote another recent hit song, is "all about that bass". The actual bass, that is. The thumping of the bass pretty much defines this song, a song which could be said to be the missing link between Gorillaz and Gwen Stefani.
"Trailer" by Mudcrutch: Tom Petty's old backing group before The Heartbreakers, in case you were wondering who Mudcrutch was. In spite of this, Mudcrutch never had a successful album until 2008, spawning two adult alt radio hits with "Scare Easy" and a cover of The Byrds' "Lover of the Bayou". Why it's taken them 8 years to record a followup album is anyone's guess, but better late than never. If Mudcrutch had any songs under their belt before their albums got released that sounded simliar to their known material, it could be the reason behind why some of Petty's biggest hits, such as "American Girl" and "The Waiting", have a bit of a Byrds-y sound, as a lot of Mudcrutch's songs sound combines the jangle of The Byrds' material with the more ragged, roots-y sound of Neil Young. "Trailer" is pretty much more of the same from Mudcrutch, more roots and more jangle. It is perhaps worth noting, though, that this song is also full of harmonica solos, which weren't heard in "Scare Easy" or "Lover of the Bayou".
Wednesday, June 25, 2014
New songs for June 25th, 2014
here they are:
"Brill Bruisers" by The New Pornographers: If you're familiar with the "Brill Building" movement of the early '60s (which included mostly "girl groups" like The Shirelles, The Ronettes, and The Chiffons), then "Brill Bruisers" actually seems like quite an apt way to describe the innocent on the outside, snarky on the inside sound of a group like The New Pornographers. Don't be fooled by their risque sounding name, it's merely based on how someone commented on how music is the "new pornography". That squeaky clean "ba-ba" dominated harmony in the beginning of "Brill Bruisers" pretty much sets the blueprint for the song. It's a somewhat punchy, yet still enjoyable "feel-good" song like many of The New Pornographers songs are, and that's pretty much what makes the song enjoyable. Aside from the filler words uttered in harmony during the song, it's a bit hard to make out what the lyrics are at first, but it seems as though music matters more to The New Pornographers than lyrics do. After all, these are the same guys who did "Sing Me Spanish Techno", a song that even the group themselves has no idea what it's about!
"Call Me the Breeze" by Eric Clapton: Back when Lynyrd Skynyrd made this song famous, they really emphasized the rock 'n' roll element of what was originally more of a laid-back blues-y country song by J.J. Cale. Almost 40 years later, it appears that guitar hero (and avid J.J. Cale fan) Eric Clapton has come back to do Cale's song justice by sticking to the blues-y, yet still mellow sound that the song originally had. Lynyrd Skynyrd fans may disagree with me, but I personally think that "Call Me the Breeze" sounds better as a Clapton cover than as a Skynyrd cover!
"Brill Bruisers" by The New Pornographers: If you're familiar with the "Brill Building" movement of the early '60s (which included mostly "girl groups" like The Shirelles, The Ronettes, and The Chiffons), then "Brill Bruisers" actually seems like quite an apt way to describe the innocent on the outside, snarky on the inside sound of a group like The New Pornographers. Don't be fooled by their risque sounding name, it's merely based on how someone commented on how music is the "new pornography". That squeaky clean "ba-ba" dominated harmony in the beginning of "Brill Bruisers" pretty much sets the blueprint for the song. It's a somewhat punchy, yet still enjoyable "feel-good" song like many of The New Pornographers songs are, and that's pretty much what makes the song enjoyable. Aside from the filler words uttered in harmony during the song, it's a bit hard to make out what the lyrics are at first, but it seems as though music matters more to The New Pornographers than lyrics do. After all, these are the same guys who did "Sing Me Spanish Techno", a song that even the group themselves has no idea what it's about!
"Call Me the Breeze" by Eric Clapton: Back when Lynyrd Skynyrd made this song famous, they really emphasized the rock 'n' roll element of what was originally more of a laid-back blues-y country song by J.J. Cale. Almost 40 years later, it appears that guitar hero (and avid J.J. Cale fan) Eric Clapton has come back to do Cale's song justice by sticking to the blues-y, yet still mellow sound that the song originally had. Lynyrd Skynyrd fans may disagree with me, but I personally think that "Call Me the Breeze" sounds better as a Clapton cover than as a Skynyrd cover!
Wednesday, June 5, 2013
New songs for June 5th, 2013
here they are:
"College" by Rogue Wave: "College", eh?! Perfect song title for a guy who has just moved on to a four-year college (me!!) Anyway, this also happens to be a very good song, especially for those who are used to Rogue Wave being an indie-folk-rock group, as opposed to the more techno influenced sound they opted for back in 2010. So glad they are back to the sound they do best!! A jangly guitar sound, slightly reminiscent of R.E.M. circa the mid '80s, rings throughout the song, though the sound starts to gradually fade out towards the end of it. As a matter of fact, even lead singer Zach Rogue's vocals seem influenced by Michael Stipe on this track (once again, specifically reminiscent of mid '80s R.E.M. songs), as the vocals are both melodic and garbled, like those on Stipe's earlier works. It's easier to tell what Rogue is saying during the chorus, as he picks out the word "knowledge" for a somewhat cliche, but still memorable rhyme for the title of the song.
"Every Little Thing" by Eric Clapton: Not exactly the most rockin' song for Clapton, but still one worth checking out. "Every Little Thing" actually serves as a nice little combination of Clapton's folk/country influenced side during the verses, and his flirtations with reggae during the chorus. Yes, he DOES have a reggae side to his material, and not just his cover of Bob Marley's "I Shot the Sheriff", either. His cover of Bob Dylan's "Knockin' On Heaven's Door" also has a reggae sound, and he even did a duet with Bob Marley once called "Slogans". The chorus of "Every Little Thing" is probably its saving grace, actually, as it lifts up the song enough rhythmically to make it a more enjoyable song to hear. The weird part about this song is how a chorus of children come in out of nowhere towards the end of it. Huh?! "Rastaman Clapton" doesn't seem to flow as well for me as blues-y, rockin' Clapton, but "Every Little Thing" is not among his worst material either.
"6 A.M." by Fitz and The Tantrums: Like their last big song, "Out of My League", Fitz and The Tantrums once again have made the jump from the best Motown band that never was to the best Hall and Oates tribute band that never was. Ummm...that is, if Hall and Oates got an indie-pop makeover. The combination of new wave and soul music is actually even more apparent on "6 A.M." than it was on "Out of My League". The sax in the song provides the more soulful side of it, while the synth on the song not only gives it a new wave-y sound, but it also seems to be the main instrument in the song! "6 A.M." actually contains synth SOLOS, which I never thought I'd hear from a group like Fitz and The Tantrums. From what I've read, Fitz and The Tantrums apparently think that guitars are an overrated instrument, but I would rather hear guitar solos than synth solos, myself. Perhaps something to keep in mind for their next album?! Soul music with guitars can work, just ask the guys from Funkadelic!
"Soothe My Soul" by Depeche Mode: Hmmmm...this is weird!! I NEVER thought I'd be reviewing a Depeche Mode song on my blog, yet here I am, doing exactly that! The closest I would come to being a Depeche Mode fan would be the songs on their late '80s/early '90s smash album, "Violator", which contains songs like "Personal Jesus", "Policy of Truth", and "Enjoy the Silence", all of which used electric guitars, despite the fact that DM were primarily viewed as a "synthesizer band" at the time. While there are no guitars I can hear clearly enough in "Soothe My Soul", it DOES sound an awful lot like "Personal Jesus" in terms of the rhythm of the song. Perhaps the fact that "Soothe My Soul" has a familiar sounding rhythm is what I like best about it. Other than that, it just kinda sounds like your typical song from "Depressed Mode" (as one DJ for an alt-rock station decided to call them, heheh). Once again, I feel like this song COULD use a bit more guitar, but then again, that's probably because I play guitar, and have done so for over 10 years now.
"Trying to Be Cool" by Phoenix: I once read that one of Phoenix's fave bands is Electric Light Orchestra. It was a little hard for me to believe that until I heard "Trying to Be Cool", which has a very similar A minor chord progression (and rhythm) to ELO's "Evil Woman". Rest assured, though, Phoenix is still Phoenix, they haven't switched their Talking Heads-ish brand of danceable indie-pop to '70s prog-rock. "Trying to Be Cool" isn't as catchy as most of Phoenix's material, but it's definitely still catchy! Lyrically, "Trying to Be Cool" is a pretty weird song!! What exactly IS "mint julep testosterone", and "two dozen pink and white ranunculus" (also, what IS a "ranunculus" in the first place)?! Such is the appeal of Phoenix, though. Their lyrics don't need to make sense, as long as the tune of the song is good, and, as usual, it is!!
"Unbelievers" by Vampire Weekend: And I thought "Diane Young" was a "retro" sounding song from VW!! That song sounds positively modern compared to their "Unbelievers", though, which has a piano based sound reminiscent of some of The Beatles' more piano based songs. I'm used to Ezra Koenig and co imitating the sounds of The Police, Bob Marley, Peter Gabriel, and "Graceland" era Paul Simon, but this takes the band to an era about 10 years before music like that became known! As the title of the song indicates, "Unbelievers" deals with topics like religion and fate, yet it sounds like such a happy song, that it makes me want to get up and do a Snoopy dance!!
"College" by Rogue Wave: "College", eh?! Perfect song title for a guy who has just moved on to a four-year college (me!!) Anyway, this also happens to be a very good song, especially for those who are used to Rogue Wave being an indie-folk-rock group, as opposed to the more techno influenced sound they opted for back in 2010. So glad they are back to the sound they do best!! A jangly guitar sound, slightly reminiscent of R.E.M. circa the mid '80s, rings throughout the song, though the sound starts to gradually fade out towards the end of it. As a matter of fact, even lead singer Zach Rogue's vocals seem influenced by Michael Stipe on this track (once again, specifically reminiscent of mid '80s R.E.M. songs), as the vocals are both melodic and garbled, like those on Stipe's earlier works. It's easier to tell what Rogue is saying during the chorus, as he picks out the word "knowledge" for a somewhat cliche, but still memorable rhyme for the title of the song.
"Every Little Thing" by Eric Clapton: Not exactly the most rockin' song for Clapton, but still one worth checking out. "Every Little Thing" actually serves as a nice little combination of Clapton's folk/country influenced side during the verses, and his flirtations with reggae during the chorus. Yes, he DOES have a reggae side to his material, and not just his cover of Bob Marley's "I Shot the Sheriff", either. His cover of Bob Dylan's "Knockin' On Heaven's Door" also has a reggae sound, and he even did a duet with Bob Marley once called "Slogans". The chorus of "Every Little Thing" is probably its saving grace, actually, as it lifts up the song enough rhythmically to make it a more enjoyable song to hear. The weird part about this song is how a chorus of children come in out of nowhere towards the end of it. Huh?! "Rastaman Clapton" doesn't seem to flow as well for me as blues-y, rockin' Clapton, but "Every Little Thing" is not among his worst material either.
"6 A.M." by Fitz and The Tantrums: Like their last big song, "Out of My League", Fitz and The Tantrums once again have made the jump from the best Motown band that never was to the best Hall and Oates tribute band that never was. Ummm...that is, if Hall and Oates got an indie-pop makeover. The combination of new wave and soul music is actually even more apparent on "6 A.M." than it was on "Out of My League". The sax in the song provides the more soulful side of it, while the synth on the song not only gives it a new wave-y sound, but it also seems to be the main instrument in the song! "6 A.M." actually contains synth SOLOS, which I never thought I'd hear from a group like Fitz and The Tantrums. From what I've read, Fitz and The Tantrums apparently think that guitars are an overrated instrument, but I would rather hear guitar solos than synth solos, myself. Perhaps something to keep in mind for their next album?! Soul music with guitars can work, just ask the guys from Funkadelic!
"Soothe My Soul" by Depeche Mode: Hmmmm...this is weird!! I NEVER thought I'd be reviewing a Depeche Mode song on my blog, yet here I am, doing exactly that! The closest I would come to being a Depeche Mode fan would be the songs on their late '80s/early '90s smash album, "Violator", which contains songs like "Personal Jesus", "Policy of Truth", and "Enjoy the Silence", all of which used electric guitars, despite the fact that DM were primarily viewed as a "synthesizer band" at the time. While there are no guitars I can hear clearly enough in "Soothe My Soul", it DOES sound an awful lot like "Personal Jesus" in terms of the rhythm of the song. Perhaps the fact that "Soothe My Soul" has a familiar sounding rhythm is what I like best about it. Other than that, it just kinda sounds like your typical song from "Depressed Mode" (as one DJ for an alt-rock station decided to call them, heheh). Once again, I feel like this song COULD use a bit more guitar, but then again, that's probably because I play guitar, and have done so for over 10 years now.
"Trying to Be Cool" by Phoenix: I once read that one of Phoenix's fave bands is Electric Light Orchestra. It was a little hard for me to believe that until I heard "Trying to Be Cool", which has a very similar A minor chord progression (and rhythm) to ELO's "Evil Woman". Rest assured, though, Phoenix is still Phoenix, they haven't switched their Talking Heads-ish brand of danceable indie-pop to '70s prog-rock. "Trying to Be Cool" isn't as catchy as most of Phoenix's material, but it's definitely still catchy! Lyrically, "Trying to Be Cool" is a pretty weird song!! What exactly IS "mint julep testosterone", and "two dozen pink and white ranunculus" (also, what IS a "ranunculus" in the first place)?! Such is the appeal of Phoenix, though. Their lyrics don't need to make sense, as long as the tune of the song is good, and, as usual, it is!!
"Unbelievers" by Vampire Weekend: And I thought "Diane Young" was a "retro" sounding song from VW!! That song sounds positively modern compared to their "Unbelievers", though, which has a piano based sound reminiscent of some of The Beatles' more piano based songs. I'm used to Ezra Koenig and co imitating the sounds of The Police, Bob Marley, Peter Gabriel, and "Graceland" era Paul Simon, but this takes the band to an era about 10 years before music like that became known! As the title of the song indicates, "Unbelievers" deals with topics like religion and fate, yet it sounds like such a happy song, that it makes me want to get up and do a Snoopy dance!!
Wednesday, February 20, 2013
New songs for February 20th, 2013
here they are:
"A Tattered Line of String" - by The Postal Service: It sounds like an unusually mellow brand of techno with the vocals of Ben Gibbard from Death Cab for Cutie. Hmmmm....sounds like the same guys who sung the chill 2004 techno-rocker "Such Great Heights". Have they come out of hibernation after 9 years?! Yes!! They have!! And those are Ben Gibbard's vocals, The Postal Service was (and is) his side project. I personally think Ben is better as a folk-rocker than as a new wave revivalist, but ever since the beginning of this year, I began hearing about how The Postal Service were going to reform, and I noticed that many people were eagerly anticipating their sophomore album, and now it's finally arrived! Not a bad effort for Mr. Gibbard, but I think he should stick with either Death Cab or his solo material for next time.
"Entertainment" by Phoenix: And now, here is yet another band who launched the new wave sound into a new age! Their songs "1901" and "Lisztomania" were both instant hits, probably because the synth side and the rock side of new wave never sounded so good together since Talking Heads had their last string of hits together! The latest song from the catchy French indie pop group Phoenix, "Entertainment", is a bit less focused on the guitar than their previous songs were. The sound of the song screams out "geek-rock", as it seems like it would be the perfect theme song to a video game or anime series, perhaps because it uses a scale during the chorus that is common to Japanese music. A different kind of "entertainment" than the typical Phoenix fan might be used to, but "Entertainment" is entertaining nonetheless.
"Gotta Get Over" by Eric Clapton: Initially a part of powerhouse psychedelic blues-rock groups like The Yardbirds and Cream, there are those who criticize Clapton of "softening" or "polishing" his sound ever since the mid 1970's. The criticism is certainly valid in some ways, and indeed, he seemed to hit a low point in his career around the mid '90s, in which his sound was closer to folk and country than it was to blues, but ever since the release of his 2010 rocker, "Run Back to Your Side", Clapton has beefed up his sound so that it sounds closer to "After Midnight" than it does to a sub-par version of "Tears In Heaven". "Gotta Get Over" is another rockin', bluesy number from Eric Clapton. Not a whole lot of lyrics on "Gotta Get Over", but since the focus here is more on the electric guitar sound, the lyrical content doesn't matter as much for this song. Keep rockin' on, E.C.!!
"Just to Make Me Feel Good" by Adam Green and Binki Shapiro: The Moldy Peaches' lead singer (the one who sings the male vocals on "Anyone Else But You" from "Juno"), and the female multi-instrumentalist from indie-pop group Little Joy joining forces together could spell trouble for Zooey Deschanel and M. Ward (known together as "She & Him"). It doesn't look like Adam and Binki are going to be anywhere near as well known as Zooey and Matt, but they still make an endearing (if odd) indie-pop duo. Unlike She & Him, in which Zooey has pretty much all the vocal duties, Adam and Binki trade off vocal sections on their songs. Their first major song, "Just to Make Me Feel Good", has the breezy, feel-good sound of a 1960's pop song. There is definitely a major difference between the charming, bubbly female vocals of Binki Shapiro and the low, deadpan male vocals of Adam Green, but somehow, they manage to make it work here, and to great effect as well!
"Long Time Gone" by The Civil Wars and T-Bone Burnett: Old folk meets new folk! The Civil Wars have had a couple hits now among indie and neo-folk fans, and T-Bone Burnett is known more for his production (like on the "O Brother, Where Art Thou?" soundtrack) than his songs, but they both share a love for roots-y American folk music. Aside from The Wars' best known song, "Barton Hollow", "Long Time Gone" is probably the roots-iest, folk-iest song they've ever done! As always, Joy and John make their harmonies soar on "Long Time Gone", and T-Bone Burnett's accompaniment makes The Civil Wars sound like a band that came out of...well...the Civil War!
"Minute By Minute" by The James Hunter Six: Whoa! Did I just take a time machine to 1967 and end up in Stax Records Studios?! (The people known for producing Otis Redding's material and some of Wilson Pickett's) It sure seems like I did! It's R & B music, but definitely not what people would associate with contemporary R & B. This is the classic stuff, with raw, passionate vocals, steamy saxophones, and clean, slick organs. The most striking feature of Hunter's music? He's WHITE!! I'm not someone who considers ethnicity in music (or anything) to be a big deal, but Hunter has such close vocals to Otis Redding, Wilson Pickett, etc., that I thought he was more African-American than Caucasian. I guess Hunter embraces both vintage sound and racial diversity, so I say, way to go, man!!
"Spotlight" by Leagues: A bit late in reviewing this song, I realize, since it's been out since late December, but it's only been within the last week that I've noticed an increase in the airplay of this song (perhaps because that's how recently it was featured in "Grey's Anatomy"). With its echoic guitar sound and catchy rhythm, I’m honestly surprised that “Spotlight” hasn’t been a hit in formats other than adult alternative yet! (Perhaps I’ve spoken too soon, though). Its chorus, consisting only of the phrases “I’m never gonna give you up” and “Spotlight, I’ve got a spotlight”, is short, but extremely effective in terms of getting stuck in one’s head. “Spotlight”’s pentatonic guitar solo in the middle of the song is like the cherry on top of this already delicious ice cream of a song!
“The Lightning Strike” by Snow Patrol: Snow Patrol seem to love updating their older material with new arrangements! It’s happened twice now, with the 2009 release of “An Olive Grove Facing the Sea” (originally from 2001) and the 2010 release of “Set the Fire to the Third Bar” (originally from 2006). Their third “re-release” song is “The Lightning Strike”, originally from 2008. The song adds yet another unique flavor of sound to the Irish indie pop group’s already eclectic catalog. The chord progression of the song seems more common to classical music than it is to rock and pop, and the instrumentation is incredibly orchestral for a Snow Patrol song. Another aspect that makes “The Lightning Strike” stand out among previous material from Gary Lightbody and co? It has THREE PARTS!! As far as rock music goes, I would expect a song with more than one part from, say, Rush, Pink Floyd, Yes, or Jethro Tull, but NOT Snow Patrol!! As adult alt radio stations don’t seem to typically play songs that are actually two (or more) songs in one, I think it’s safe to assume that only the first part of “The Lightning Strike” will be spun on such stations. The imagery of “perfect halos”, “silver forked skies”, and “peeling thunder” probably wouldn’t sound too out of place in a prog-rock album, actually. Who knew Snow Patrol were closet Pink Floyd fans?! I sure didn’t!!
"A Tattered Line of String" - by The Postal Service: It sounds like an unusually mellow brand of techno with the vocals of Ben Gibbard from Death Cab for Cutie. Hmmmm....sounds like the same guys who sung the chill 2004 techno-rocker "Such Great Heights". Have they come out of hibernation after 9 years?! Yes!! They have!! And those are Ben Gibbard's vocals, The Postal Service was (and is) his side project. I personally think Ben is better as a folk-rocker than as a new wave revivalist, but ever since the beginning of this year, I began hearing about how The Postal Service were going to reform, and I noticed that many people were eagerly anticipating their sophomore album, and now it's finally arrived! Not a bad effort for Mr. Gibbard, but I think he should stick with either Death Cab or his solo material for next time.
"Entertainment" by Phoenix: And now, here is yet another band who launched the new wave sound into a new age! Their songs "1901" and "Lisztomania" were both instant hits, probably because the synth side and the rock side of new wave never sounded so good together since Talking Heads had their last string of hits together! The latest song from the catchy French indie pop group Phoenix, "Entertainment", is a bit less focused on the guitar than their previous songs were. The sound of the song screams out "geek-rock", as it seems like it would be the perfect theme song to a video game or anime series, perhaps because it uses a scale during the chorus that is common to Japanese music. A different kind of "entertainment" than the typical Phoenix fan might be used to, but "Entertainment" is entertaining nonetheless.
"Gotta Get Over" by Eric Clapton: Initially a part of powerhouse psychedelic blues-rock groups like The Yardbirds and Cream, there are those who criticize Clapton of "softening" or "polishing" his sound ever since the mid 1970's. The criticism is certainly valid in some ways, and indeed, he seemed to hit a low point in his career around the mid '90s, in which his sound was closer to folk and country than it was to blues, but ever since the release of his 2010 rocker, "Run Back to Your Side", Clapton has beefed up his sound so that it sounds closer to "After Midnight" than it does to a sub-par version of "Tears In Heaven". "Gotta Get Over" is another rockin', bluesy number from Eric Clapton. Not a whole lot of lyrics on "Gotta Get Over", but since the focus here is more on the electric guitar sound, the lyrical content doesn't matter as much for this song. Keep rockin' on, E.C.!!
"Just to Make Me Feel Good" by Adam Green and Binki Shapiro: The Moldy Peaches' lead singer (the one who sings the male vocals on "Anyone Else But You" from "Juno"), and the female multi-instrumentalist from indie-pop group Little Joy joining forces together could spell trouble for Zooey Deschanel and M. Ward (known together as "She & Him"). It doesn't look like Adam and Binki are going to be anywhere near as well known as Zooey and Matt, but they still make an endearing (if odd) indie-pop duo. Unlike She & Him, in which Zooey has pretty much all the vocal duties, Adam and Binki trade off vocal sections on their songs. Their first major song, "Just to Make Me Feel Good", has the breezy, feel-good sound of a 1960's pop song. There is definitely a major difference between the charming, bubbly female vocals of Binki Shapiro and the low, deadpan male vocals of Adam Green, but somehow, they manage to make it work here, and to great effect as well!
"Long Time Gone" by The Civil Wars and T-Bone Burnett: Old folk meets new folk! The Civil Wars have had a couple hits now among indie and neo-folk fans, and T-Bone Burnett is known more for his production (like on the "O Brother, Where Art Thou?" soundtrack) than his songs, but they both share a love for roots-y American folk music. Aside from The Wars' best known song, "Barton Hollow", "Long Time Gone" is probably the roots-iest, folk-iest song they've ever done! As always, Joy and John make their harmonies soar on "Long Time Gone", and T-Bone Burnett's accompaniment makes The Civil Wars sound like a band that came out of...well...the Civil War!
"Minute By Minute" by The James Hunter Six: Whoa! Did I just take a time machine to 1967 and end up in Stax Records Studios?! (The people known for producing Otis Redding's material and some of Wilson Pickett's) It sure seems like I did! It's R & B music, but definitely not what people would associate with contemporary R & B. This is the classic stuff, with raw, passionate vocals, steamy saxophones, and clean, slick organs. The most striking feature of Hunter's music? He's WHITE!! I'm not someone who considers ethnicity in music (or anything) to be a big deal, but Hunter has such close vocals to Otis Redding, Wilson Pickett, etc., that I thought he was more African-American than Caucasian. I guess Hunter embraces both vintage sound and racial diversity, so I say, way to go, man!!
"Spotlight" by Leagues: A bit late in reviewing this song, I realize, since it's been out since late December, but it's only been within the last week that I've noticed an increase in the airplay of this song (perhaps because that's how recently it was featured in "Grey's Anatomy"). With its echoic guitar sound and catchy rhythm, I’m honestly surprised that “Spotlight” hasn’t been a hit in formats other than adult alternative yet! (Perhaps I’ve spoken too soon, though). Its chorus, consisting only of the phrases “I’m never gonna give you up” and “Spotlight, I’ve got a spotlight”, is short, but extremely effective in terms of getting stuck in one’s head. “Spotlight”’s pentatonic guitar solo in the middle of the song is like the cherry on top of this already delicious ice cream of a song!
“The Lightning Strike” by Snow Patrol: Snow Patrol seem to love updating their older material with new arrangements! It’s happened twice now, with the 2009 release of “An Olive Grove Facing the Sea” (originally from 2001) and the 2010 release of “Set the Fire to the Third Bar” (originally from 2006). Their third “re-release” song is “The Lightning Strike”, originally from 2008. The song adds yet another unique flavor of sound to the Irish indie pop group’s already eclectic catalog. The chord progression of the song seems more common to classical music than it is to rock and pop, and the instrumentation is incredibly orchestral for a Snow Patrol song. Another aspect that makes “The Lightning Strike” stand out among previous material from Gary Lightbody and co? It has THREE PARTS!! As far as rock music goes, I would expect a song with more than one part from, say, Rush, Pink Floyd, Yes, or Jethro Tull, but NOT Snow Patrol!! As adult alt radio stations don’t seem to typically play songs that are actually two (or more) songs in one, I think it’s safe to assume that only the first part of “The Lightning Strike” will be spun on such stations. The imagery of “perfect halos”, “silver forked skies”, and “peeling thunder” probably wouldn’t sound too out of place in a prog-rock album, actually. Who knew Snow Patrol were closet Pink Floyd fans?! I sure didn’t!!
Wednesday, August 25, 2010
New songs for Aug. 25th, 2010
here they are!
"In Sleep" by Lissie: Having a name like "Lissie" is enough to make one think that there's something unique and kinda cool about her. And there is! Her first breakthrough song, "In Sleep", she almost effortlessly combines country, folk, straight-ahead rock, and slight traces of neo-psychedelia into one song! Altogether, it sounds like an indie rock Fleetwood Mac (the guitar solo at the end reminds me a little of "Go Your Own Way", only it's about a minute and a half longer!) Lissie's cynically smoky vocals make me think that fans of Jenny Lewis (also on this week's blog), Neko Case, and other Stevie Nicks-influenced indie females would really like this song (and artist)!
"Modern Man" by Arcade Fire: As if having Eric Clapton on this week's list and countless other classic rock musicians making their big "comebacks" in 2010 wasn't enough, Arcade Fire's latest pretty much steals the main chord structure of A major and F sharp minor of John Mellencamp's "Hand to Hold On To". Arcade Fire must be making their classic rock influences want to shine out more in their latest material (as I also compared "Ready to Start" to Golden Earring's "Radar Love" as if covered by The Cure). Though "Modern Man" has enough "alternative" instrumentation to avoid being completely mistaken for Mellencamp, I can't help but notice a similarity between the two songs! Another interesting thing is that it seems like Arcade Fire are releasing singles on a MONTHLY basis off their latest album (June - "The Suburbs, July - "Ready to Start", and August - "Modern Man"). One can only wonder what Win Butler and co. have waiting for us in store in September and if it, too, is classic rock influenced!
"Run Back to Your Side" by Eric Clapton: There's an old joke that goes like, "What do Eric Clapton and coffee have in common? They both suck without the 'Cream'". While I don't entirely agree with that statement, I can certainly see why one would think such a thing - ever since Clapton's solo career took flight, he seems to have gotten "softer". In the '00s, he was a bit unpredictable. While it seemed like he wanted his blues-y side back then more than any other decade, he went about it rather strangely. "Revolution" (not to be confused with the Beatles song of the same name) was his take on reggae, he let his inner soul man shine with a cover of Stevie Wonder's "Higher Ground", and his "Ride the River" with fellow blues-rocker J.J. Cale, seemed more like blues-folk than blues-rock. Thankfully, Clapton's inner blues man has finally been set free once again on "Run Back to Your Side". While it lacks the heavy intensity of Cream, it is certainly more rock-and-roll friendly than most of what he has put out in the past 20 or so years, so much so that if it weren't for Clapton's unmistakable vocals, this might be mistaken for a long lost Allman Brothers track!
"Scissor Runner" by Jenny and Johnny: I love this song already!! For one thing, Jenny Lewis from Rilo Kiley is in it! (along with fellow indie musician Jonathan Rice, a.k.a. "Johnny" in this side project/band) For another, I love the neo-psychedelic, melodic, folk-rock-y feel of this song! It almost hearkens back to the days of early R.E.M., Yo La Tengo, and the "mellower" side of bands like The Velvet Underground and Pavement. It's really bouncy and just plain fun, too! Favorite line in the song so far? "She ain't a princess/But she's an artist/Painting a portrait/All over my heart". Now THERE's the kind of girl I'd like to meet someday!
"In Sleep" by Lissie: Having a name like "Lissie" is enough to make one think that there's something unique and kinda cool about her. And there is! Her first breakthrough song, "In Sleep", she almost effortlessly combines country, folk, straight-ahead rock, and slight traces of neo-psychedelia into one song! Altogether, it sounds like an indie rock Fleetwood Mac (the guitar solo at the end reminds me a little of "Go Your Own Way", only it's about a minute and a half longer!) Lissie's cynically smoky vocals make me think that fans of Jenny Lewis (also on this week's blog), Neko Case, and other Stevie Nicks-influenced indie females would really like this song (and artist)!
"Modern Man" by Arcade Fire: As if having Eric Clapton on this week's list and countless other classic rock musicians making their big "comebacks" in 2010 wasn't enough, Arcade Fire's latest pretty much steals the main chord structure of A major and F sharp minor of John Mellencamp's "Hand to Hold On To". Arcade Fire must be making their classic rock influences want to shine out more in their latest material (as I also compared "Ready to Start" to Golden Earring's "Radar Love" as if covered by The Cure). Though "Modern Man" has enough "alternative" instrumentation to avoid being completely mistaken for Mellencamp, I can't help but notice a similarity between the two songs! Another interesting thing is that it seems like Arcade Fire are releasing singles on a MONTHLY basis off their latest album (June - "The Suburbs, July - "Ready to Start", and August - "Modern Man"). One can only wonder what Win Butler and co. have waiting for us in store in September and if it, too, is classic rock influenced!
"Run Back to Your Side" by Eric Clapton: There's an old joke that goes like, "What do Eric Clapton and coffee have in common? They both suck without the 'Cream'". While I don't entirely agree with that statement, I can certainly see why one would think such a thing - ever since Clapton's solo career took flight, he seems to have gotten "softer". In the '00s, he was a bit unpredictable. While it seemed like he wanted his blues-y side back then more than any other decade, he went about it rather strangely. "Revolution" (not to be confused with the Beatles song of the same name) was his take on reggae, he let his inner soul man shine with a cover of Stevie Wonder's "Higher Ground", and his "Ride the River" with fellow blues-rocker J.J. Cale, seemed more like blues-folk than blues-rock. Thankfully, Clapton's inner blues man has finally been set free once again on "Run Back to Your Side". While it lacks the heavy intensity of Cream, it is certainly more rock-and-roll friendly than most of what he has put out in the past 20 or so years, so much so that if it weren't for Clapton's unmistakable vocals, this might be mistaken for a long lost Allman Brothers track!
"Scissor Runner" by Jenny and Johnny: I love this song already!! For one thing, Jenny Lewis from Rilo Kiley is in it! (along with fellow indie musician Jonathan Rice, a.k.a. "Johnny" in this side project/band) For another, I love the neo-psychedelic, melodic, folk-rock-y feel of this song! It almost hearkens back to the days of early R.E.M., Yo La Tengo, and the "mellower" side of bands like The Velvet Underground and Pavement. It's really bouncy and just plain fun, too! Favorite line in the song so far? "She ain't a princess/But she's an artist/Painting a portrait/All over my heart". Now THERE's the kind of girl I'd like to meet someday!
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