Can you believe it?! I've been doing this blog for 10 years now!! And it's my mom's birthday!! So what are we gonna do to celebrate?! Review 9 brand new songs, that's what! The first three, coincidentally, begin with the letter B...as in "birthday" (and "blog-i-versary"). So here goes:
"Back to Me" by Grace Potter (featuring Lucius): This song combines the humble country-rock sound Grace Potter started with with the more slinky, sexy sound she cultivated later on. As soon as indie-pop/rockers, Lucius, drop in during the chorus, the song turns a bit more soulful. Grace really flaunts the temptation factor on this song! She fools the listener into thinking she's in love with someone, only for them to find out that Grace is actually trying to break up with that same person. If you're looking for love, don't look to this song for answers. But if you're looking for a sensual auditory experience with deceptive lyrics, you've come to the right place!
"Be Afraid" by Jason Isbell: A sense of urgency has probably come over you just reading the title of this song. If so, you'd be right to feel that way! That desperate feeling churns out right from the beginning of this song, which has a sort of "R.E.M. goes Southern rock" kind of sound. Isbell has fought against politics with his music for quite awhile now, and he shows no signs of letting up just yet with his latest song, "Be Afraid". The fear in this song seems to come from all sorts of topics, ranging from political to sexual, and even in fears surrounding the state of being a musician in and of itself! "Be afraid, be very afraid", Isbell urges his listeners, before adding in, "but do it anyway". It's time for us to face our fears. In spite of the title of this song, Jason Isbell is clearly anything BUT afraid here!
"By And By" by Caamp: Caamp's surprise summer smash, "Peach Fuzz", which was popular enough to make my Top 20 of 2019, was a pleasantly quirky song that was a rock song on the surface, but a bluegrass song underneath. "By And By" has more of a pure bluegrass sound than its predecessor, enough to be mistaken for a band like Trampled by Turtles. No electric guitars to be found here, just sweet, mellow, banjo driven bluegrass. The opening lyrics, "driving through West Virginia", even give it a "lonesome traveler on the highway" kind of feel. During the chorus of the song, Caamp's lead singer muses about his girlfriend and wonders if she's a "life force". Not exactly sure what that entails, but "By And By" is still an easy, breezy song to listen to.
"Dissolve" by Absofacto: Every once in awhile, we come across songs that immediately get associated with commercial products. Absofacto's "Dissolve" is one such case. It has actually been in existence for two years now, but it has received massive attention within the past two weeks for being used on advertisement for video sharing platform, Tik Tok. Apps like Tik Tok are a bit sketchy to me, but it's not that surprising that a song like "Dissolve" has been used to promote Tik Tok. The song is sleek and trendy, combining elements of hip-hop and electronica into a smooth yet fashionable flavor.
"Forever Nevermore" by Sea Wolf: Probably one of the few bands I've blogged about and met members of in person, Sea Wolf are an L.A. band who deftly mixes folk guitars with a post-punk atmosphere. Their latest song, "Forever Nevermore", seems to be about not knowing what to want in a relationship. The title, "Forever Nevermore", is a clever way of expressing this, juxtaposing the idealism of "forever" and the pessimism of "never". The opening lyrics, "Stepped out, cool dirt under feet/And the fog in the air and the crack of the snare bittersweet", give the song a hazy, wintry aura to set the mood for the rest of the song. An icy song on the outside, but with a warm heart underneath it all.
"Honeybee" by The Head and The Heart: The third song to become a single from The Head and The Heart's latest album, "Honeybee" is a song that continues on the more-pop-than-rock indie slant that The Head and The Heart have taken on roughly since the mid 2010's. However, what makes this song special is what band member Charity Rose Thielen, who sings harmony on this track, thinks of it. Her comment is the first one on the "visualizer" video for "Honeybee" on YouTube, and it states that the song is about taking those you trust the most for granted, and therefore holding back on telling them how you really feel until it's too late. The title of the song, "Honeybee", as you could probably imagine, is not much more than a cutesy nickname in the context of the song, but the song itself has a very delicate, fragile meaning that urges you to look beyond the surface of it.
"I Wanna Be the One" by Pete Yorn: Pete's 2019 adult alt radio hit, "Calm Down", hearkened back so much to the "old" Pete Yorn sound that I instantly fell in love with. His second single from his 2019 album, the song "I Wanna Be the One", doesn't quite have the same vibe. In some parts, it sounds like it wants to be atmospheric like a Smiths or Cure song, yet in other parts it sounds more like a folk-rock-y Pete Yorn song. The song is obviously a love song if its title is anything to go by. It's a sweet song, but it's missing that Pete Yorn magic that I crave every time I hear one of his songs.
"Need Your Love" by Tennis: Known for blending Brill Building "girl group" influenced sounds with post-psychedelic pop topped with the honey-sweet harmonic vocals of Alaina Moore, Tennis are an indie-pop band who pretty much always sound "retro". Their latest song, "Need Your Love", is no exception to this. What distinguishes "Need Your Love" from their other songs, however, is how the rhythm of the song becomes slower during the chorus than it is during the verses. Just when you get caught up in the catchy beat of the verses, the song slows down enough to make you feel less elevated than when you started listening to it, which begs the question: Do Tennis really "Need Our Love", or are they just playing with our hearts?!
"Shangri-La" by EOB (Ed O'Brien from Radiohead): Radiohead's Thom Yorke has gone solo a few times, and we got pretty much what we expected out of him: jaded yet pretty slices of music that melded post-punk with post-psychedelia. So what does Radiohead's guitarist, Ed O'Brien, have to offer us? The result is in his debut solo song, "Shangri-La", a song that manages to be even weirder than Thom Yorke's music, albeit in an intriguing manner. Where Thom highlights what make Radiohead such a great "alternative" band, Ed highlights the more prog-rock influenced side of the band that really shone during songs like "Paranoid Android". Pink Floyd, U2, Beck, and Nine Inch Nails are all accurate comparisons for this truly unique, hypnotic song!
Showing posts with label Grace Potter. Show all posts
Showing posts with label Grace Potter. Show all posts
Wednesday, February 12, 2020
Wednesday, October 17, 2018
New songs for October 17th, 2018
here they are:
"I'd Rather Go Blind" by Grace Potter: Grace Potter has zigzagged through the years between folk, blues, rock, and pop. Perhaps she's always been a blues-woman at heart, though, and there's proof of this in her Muscle Shoals produced cover of Etta James' "I'd Rather Go Blind". Grace pours her heart and soul out on this cover, which would make both Etta James and Bonnie Raitt proud. Unlike Etta's version, Grace's take on this blues classic runs for a full 5 minutes, proving just how passionate she is about this song!
"Walls" by The Lumineers: Another cover for the only other song of the week, this time one of the late, great, Tom Petty. "Ho Hey" might be a far cry from, say, "Refugee", but "Walls" is one of the softer, more roots-y songs in Petty's catalog, so it's fitting for The Lumi's to pay tribute to Petty like this. Once again, even after 6 years in the music biz, The Lumi's STILL haven't compromised their folk-rock for techno-pop, making them tried and true survivors of the indie-folk scene. I need only for someone like Leon Bridges to cover Aretha Franklin now that she has passed on, and my life will be complete!
"I'd Rather Go Blind" by Grace Potter: Grace Potter has zigzagged through the years between folk, blues, rock, and pop. Perhaps she's always been a blues-woman at heart, though, and there's proof of this in her Muscle Shoals produced cover of Etta James' "I'd Rather Go Blind". Grace pours her heart and soul out on this cover, which would make both Etta James and Bonnie Raitt proud. Unlike Etta's version, Grace's take on this blues classic runs for a full 5 minutes, proving just how passionate she is about this song!
"Walls" by The Lumineers: Another cover for the only other song of the week, this time one of the late, great, Tom Petty. "Ho Hey" might be a far cry from, say, "Refugee", but "Walls" is one of the softer, more roots-y songs in Petty's catalog, so it's fitting for The Lumi's to pay tribute to Petty like this. Once again, even after 6 years in the music biz, The Lumi's STILL haven't compromised their folk-rock for techno-pop, making them tried and true survivors of the indie-folk scene. I need only for someone like Leon Bridges to cover Aretha Franklin now that she has passed on, and my life will be complete!
Wednesday, August 19, 2015
New songs for August 19th, 2015
here they are:
"Empty Heart" by Grace Potter: Grace has dabbled in folk and in rock, but "Empty Heart" is probably the first song she's done that's a little of both. Its sound comes off like what it would be like if Gin Wigmore did a song that sounded like a cross between John Lennon's "Give Peace A Chance" and The Lumineers' "Ho Hey", with a vaguely hip-hop influenced beat to keep the time. Like John Lennon, Grace Potter lets the piano play a central role in "Empty Heart", particularly during the chorus, where the song's key of C major briefly turns into a blues-y, jazzy C7. "Why don't you let me fill up your empty heart?" Grace pleads during the chorus. Grace, you've already filled it up with your free-spirited, spunky approach to music!
"Fire And the Flood" by Vance Joy: Though folks like Phillip Phillips, The Lumineers, and Of Monsters & Men were already riding high on the coattails of what New Zealand folk-rocker Vance Joy did about a year later than they did, I still can't help but feel like Vance Joy has a sound all his own nonetheless. "Fire And the Flood" does seem kinda Phillip Phillips-esque, though, with its bright brass bursting through its otherwise reserved and melancholy sound. Perhaps what appeals to me the most about Vance's latest song, "Fire And the Flood", is how it manages to sound old and new at the same time! In addition to the 2010's neo-folk-rock sound that "Fire And the Flood" is probably intending to give off, I can also detect a sort of "lo-fi" influence in the song as well that gives the song a late '60s/early '70s, almost Cat Stevens-ish flavor. Also, the "fire and the flood" mentioned in the song's chorus is clearly a girl that Vance has developed affections for. Given how disastrous both fires and floods are, I would venture to say that said girl is also doing him some damage as well. What can I say, that's love for ya!
"Into the Deep" by Galactic (featuring Macy Gray): You probably haven't heard the name Macy Gray since the late '90s, and Galactic is a name that (sadly) doesn't get tossed around much at all, but together, on "Into the Deep", Macy and Galactic combine forces to make a smooth, silky soul powerhouse! Galactic aren't nearly as funky and jazzy as they usually are here, but the old school R & B flavor is still there, it's just slowed down a bit here. "Into the Deep" is a passionate love song, perfect for kiss heavy, love making nights, and it'll sink deep into your soul, too!
"Return to the Moon" by El Vy: Do you recognize the maudlin baritone of the lead singer of El Vy? If you do, that's because those are the vocals of Matt Berninger, lead singer of indie faves, The National. "Return to the Moon" does NOT sound like the National, though, in terms of its instrumental content. It's not often you hear indie-pop that's this funky, but when you do, cherish the moment! It's a rare but noteworthy opportunity! As you would probably suspect, the "moon" is being used as a metaphor here, and it is likely that the metaphor revolves around how Matt had longed to return to his home state of Ohio ("the moon") while he was living in California ("Earth"). I've never heard Matt sound so upbeat ever, but perhaps he should do more songs like this! I can dig it!
"S.O.B." by Nathaniel Rateliff and The Night Sweats: The letters "S.O.B." aren't actually mentioned in this song. Therefore, as you might have guessed, the song's title is actually just a radio-friendly way of saying the REAL words of the chorus, "son of a b...." ....better not say that last word!! Anyway, this is a pretty unique song! It almost seems like a fusion of bluegrass music, gospel, and Elvis Presley-style early rock. Never thought anyone would try to combine all those genres together, but it actually sounds really good! This song is full of relentless energy, and is also enough for many people to long for the days of a time that happened before they were even born!
"Say It" by Houndmouth: And here's another retro-style song! This time, the sound that's being emulated is that of Canadian folk-rock group, The Band (and probably many other similar acts, but The Band seem to be the most obvious here). First off, I NEVER would have thought that Houndmouth would become so big with their song "Sedona" from earlier this year, but they did, on both the adult alt AND regular alt charts!! Perhaps part of "Sedona"'s success was the fact that it DID sound a bit more "alternative" than most of Houndmouth's material. "Say It" returns to the basic country-rock formula that Houndmouth became known for among their initial fanbase. "Say It" is definitely the most upbeat song in the Houndmouth catalog so far! It also sounds like the lead singers are having a lot of fun saying "say it like you mean it" over and over again as fast as they can, as though singing a tongue twister along the lines of "Peter Piper picked a peck of pickled peppers", or "she sells seashells by the seashore"!
"Steven's Cat" by Widespread Panic: Underneath all their jam-band glory, Widespread Panic have always seemed like a band with a witty sense of humor. The title of their latest song, "Steven's Cat" sounds like a pun on folk-rock musician, Cat Stevens, though the song itself doesn't sound a thing like Cat Stevens. There is a subtle reference to Cat's "Moonshadow" in the lyric, "shadow the moon lighting the wood path". The song doesn't seem to be about anything in particular, but it almost seemed like that's what WP intended here in this invigorating, freewheeling song!
"Empty Heart" by Grace Potter: Grace has dabbled in folk and in rock, but "Empty Heart" is probably the first song she's done that's a little of both. Its sound comes off like what it would be like if Gin Wigmore did a song that sounded like a cross between John Lennon's "Give Peace A Chance" and The Lumineers' "Ho Hey", with a vaguely hip-hop influenced beat to keep the time. Like John Lennon, Grace Potter lets the piano play a central role in "Empty Heart", particularly during the chorus, where the song's key of C major briefly turns into a blues-y, jazzy C7. "Why don't you let me fill up your empty heart?" Grace pleads during the chorus. Grace, you've already filled it up with your free-spirited, spunky approach to music!
"Fire And the Flood" by Vance Joy: Though folks like Phillip Phillips, The Lumineers, and Of Monsters & Men were already riding high on the coattails of what New Zealand folk-rocker Vance Joy did about a year later than they did, I still can't help but feel like Vance Joy has a sound all his own nonetheless. "Fire And the Flood" does seem kinda Phillip Phillips-esque, though, with its bright brass bursting through its otherwise reserved and melancholy sound. Perhaps what appeals to me the most about Vance's latest song, "Fire And the Flood", is how it manages to sound old and new at the same time! In addition to the 2010's neo-folk-rock sound that "Fire And the Flood" is probably intending to give off, I can also detect a sort of "lo-fi" influence in the song as well that gives the song a late '60s/early '70s, almost Cat Stevens-ish flavor. Also, the "fire and the flood" mentioned in the song's chorus is clearly a girl that Vance has developed affections for. Given how disastrous both fires and floods are, I would venture to say that said girl is also doing him some damage as well. What can I say, that's love for ya!
"Into the Deep" by Galactic (featuring Macy Gray): You probably haven't heard the name Macy Gray since the late '90s, and Galactic is a name that (sadly) doesn't get tossed around much at all, but together, on "Into the Deep", Macy and Galactic combine forces to make a smooth, silky soul powerhouse! Galactic aren't nearly as funky and jazzy as they usually are here, but the old school R & B flavor is still there, it's just slowed down a bit here. "Into the Deep" is a passionate love song, perfect for kiss heavy, love making nights, and it'll sink deep into your soul, too!
"Return to the Moon" by El Vy: Do you recognize the maudlin baritone of the lead singer of El Vy? If you do, that's because those are the vocals of Matt Berninger, lead singer of indie faves, The National. "Return to the Moon" does NOT sound like the National, though, in terms of its instrumental content. It's not often you hear indie-pop that's this funky, but when you do, cherish the moment! It's a rare but noteworthy opportunity! As you would probably suspect, the "moon" is being used as a metaphor here, and it is likely that the metaphor revolves around how Matt had longed to return to his home state of Ohio ("the moon") while he was living in California ("Earth"). I've never heard Matt sound so upbeat ever, but perhaps he should do more songs like this! I can dig it!
"S.O.B." by Nathaniel Rateliff and The Night Sweats: The letters "S.O.B." aren't actually mentioned in this song. Therefore, as you might have guessed, the song's title is actually just a radio-friendly way of saying the REAL words of the chorus, "son of a b...." ....better not say that last word!! Anyway, this is a pretty unique song! It almost seems like a fusion of bluegrass music, gospel, and Elvis Presley-style early rock. Never thought anyone would try to combine all those genres together, but it actually sounds really good! This song is full of relentless energy, and is also enough for many people to long for the days of a time that happened before they were even born!
"Say It" by Houndmouth: And here's another retro-style song! This time, the sound that's being emulated is that of Canadian folk-rock group, The Band (and probably many other similar acts, but The Band seem to be the most obvious here). First off, I NEVER would have thought that Houndmouth would become so big with their song "Sedona" from earlier this year, but they did, on both the adult alt AND regular alt charts!! Perhaps part of "Sedona"'s success was the fact that it DID sound a bit more "alternative" than most of Houndmouth's material. "Say It" returns to the basic country-rock formula that Houndmouth became known for among their initial fanbase. "Say It" is definitely the most upbeat song in the Houndmouth catalog so far! It also sounds like the lead singers are having a lot of fun saying "say it like you mean it" over and over again as fast as they can, as though singing a tongue twister along the lines of "Peter Piper picked a peck of pickled peppers", or "she sells seashells by the seashore"!
"Steven's Cat" by Widespread Panic: Underneath all their jam-band glory, Widespread Panic have always seemed like a band with a witty sense of humor. The title of their latest song, "Steven's Cat" sounds like a pun on folk-rock musician, Cat Stevens, though the song itself doesn't sound a thing like Cat Stevens. There is a subtle reference to Cat's "Moonshadow" in the lyric, "shadow the moon lighting the wood path". The song doesn't seem to be about anything in particular, but it almost seemed like that's what WP intended here in this invigorating, freewheeling song!
Wednesday, April 22, 2015
New songs for April 22nd, 2015
here they are:
"Alive Tonight" by Grace Potter: Anthemic dance-pop may not work for everyone, but for Grace Potter, it seems to do the trick, making a musician who started out with calm country-rock music into a sassy powerhouse! This song also marks the first time Grace has performed without her longtime backing group, The Nocturnals. Whoever her backing group is now, though, is doing a good job at maintaining the energy Grace reserves for her more uptempo numbers. The rousing chorus of "we are, we are, we are alive tonight!" is easy to get stuck in your head! On top of that, the song even contains a guitar solo in the middle!
"All the Pretty Girls" by Kaleo: Mumford and Sons imitators have been everywhere during the 2010's. So where does that leave fans of pre-Mumford indie-folk, like Bon Iver and Fleet Foxes?! Well, it pretty much leaves them with Kaleo, whose song "All the Pretty Girls" sounds like a cross between Bon Iver's "Skinny Love" and Vance Joy's "Riptide". Kaleo are also the only other indie-folk band (so far) besides Of Monsters and Men to hail from Iceland. Unlike OMAM, however, the lead singer's accent does not sound Irish. Instead it sounds like a cross between Justin Vernon (Bon Iver) and Vance Joy. Seems like this song is taking bits and pieces from other indie-folk songs and bands. Perhaps it could be said to be indie-folk's Frankenstein in that regard! I like it anyway, though.
"Mama Knows" by Sister Sparrow and The Dirty Birds: Arleigh "Sister Sparrow" Kincheloe is blessed with having the looks of "Portlandia"'s Carrie Brownstein and the voice and musical stylings of Susan Tedeschi. A winning combination if you ask me! Even better, perhaps, is how the "mama" in the title of the song refers not to herself but to her own mother! The song was inspired by Arleigh seeing some of her mother's concerts and how much admiration she felt for her. The central message of the song lies in the chorus, where Kincheloe sings, "If you ain't got lovin', you ain't got nothin'". With Mother's Day close on the horizon, it seems like the perfect song to be released for this time of year!
"Alive Tonight" by Grace Potter: Anthemic dance-pop may not work for everyone, but for Grace Potter, it seems to do the trick, making a musician who started out with calm country-rock music into a sassy powerhouse! This song also marks the first time Grace has performed without her longtime backing group, The Nocturnals. Whoever her backing group is now, though, is doing a good job at maintaining the energy Grace reserves for her more uptempo numbers. The rousing chorus of "we are, we are, we are alive tonight!" is easy to get stuck in your head! On top of that, the song even contains a guitar solo in the middle!
"All the Pretty Girls" by Kaleo: Mumford and Sons imitators have been everywhere during the 2010's. So where does that leave fans of pre-Mumford indie-folk, like Bon Iver and Fleet Foxes?! Well, it pretty much leaves them with Kaleo, whose song "All the Pretty Girls" sounds like a cross between Bon Iver's "Skinny Love" and Vance Joy's "Riptide". Kaleo are also the only other indie-folk band (so far) besides Of Monsters and Men to hail from Iceland. Unlike OMAM, however, the lead singer's accent does not sound Irish. Instead it sounds like a cross between Justin Vernon (Bon Iver) and Vance Joy. Seems like this song is taking bits and pieces from other indie-folk songs and bands. Perhaps it could be said to be indie-folk's Frankenstein in that regard! I like it anyway, though.
"Mama Knows" by Sister Sparrow and The Dirty Birds: Arleigh "Sister Sparrow" Kincheloe is blessed with having the looks of "Portlandia"'s Carrie Brownstein and the voice and musical stylings of Susan Tedeschi. A winning combination if you ask me! Even better, perhaps, is how the "mama" in the title of the song refers not to herself but to her own mother! The song was inspired by Arleigh seeing some of her mother's concerts and how much admiration she felt for her. The central message of the song lies in the chorus, where Kincheloe sings, "If you ain't got lovin', you ain't got nothin'". With Mother's Day close on the horizon, it seems like the perfect song to be released for this time of year!
Wednesday, March 28, 2012
New songs for March 28th, 2012
here they are:
"Looking For A Sign" by Beck: Beck might as well be called the David Bowie of the '90s and 21st century. You never knew what kind of Beck you were gonna get next. The wacky hip-hop/funk influenced Beck, the sensitive folkie Beck, the surf-guitar Beck, the moody, trip-hop/jazzy Beck, and the list goes on and on from there! For his latest song, "Looking For A Sign", Beck has chosen to go for sensitive folkie mode, which makes sense, considering it is on the soundtrack to the (comedic) indie film, "Jeff, Who Lives At Home". The highlighting moments of "Looking For A Sign" are not in the mood or lyrics, though, as much as they are in the unique chord progression of the song! What can I say, Beck never ceases to amaze me!
"Never Go Back" by Grace Potter and The Nocturnals: And here is yet ANOTHER musician (with a backing band) who has trodden eclectic waters! Grace started out as a quiet country-pop/rock musician, but soon went into more hard rock territory with her cover of Jefferson Airplane's "White Rabbit", as well as the punchy, Lenny Kravitz-ish "Paris (Ooh La La)". "Never Go Back" is NEITHER of the subgenres I've mentioned so far, but rather an electronic alterna-pop sound. "Never Go Back" is catchy, and combines synthesizers and guitars kind of like the typical Killers song might, but Grace sounds more detached on this song than she did on "Paris", in which she had wild but passionate vocals. Perhaps not the best decision Grace and The Noc's have made, but I still like it, and personally, it holds my attention much better than the dry, country-ish sound she had on "Ah, Mary" and "Ain't No Time".
"No Light, No Light" by Florence and The Machine: This song is equal parts electronic, alternative, soul, and gospel, but it still sounds great!! I'm pretty convinced Flo can do no wrong with every new song I hear by her! "No Light, No Light", of course, is no exception, no exception! The lyrics of this song seem to indicate this is a breakup song, as many of her songs tend to be, but our red-haired beauty takes the angst of her situation and turns it into full-blown, four minute opera/sermon with this song. Flo, you're just too amazing for words, what can I say?!
"North Side Gal" by JD McPherson: Wow! Has Little Richard released his comeback album?! Or maybe that's Fats Domino, or perhaps Chuck Berry?! Nope, it's the latest '50s rock influenced sensation from the 21st century, JD McPherson! I swear, this song sounds like it came out back when rock 'n' roll was as young as a newborn baby!! With the increasing lack of zippiness and zest in today's music, though, I think that's a good thing! Sometimes I feel like the world might need a new Elvis Presley, and I can't think of anyone better than JD McPherson (well, maybe the sexy, snazzy Irish gal, Imelda May would be an exception, but still...)!! It even sounds like it's own song, despite having the chord progression almost every '50s rock song has (although the end part of the song, in which JD repeatedly sings, "Crazy 'bout a north side gal", sounds a bit too similar to when Elvis repeatedly sings "Dancin' to the jailhouse rock" at the end of "Jailhouse Rock"). This is a real swingin' song, though, and I highly recommend it!!
"Paddling Out" by Miike Snow: No, "Miike" is not a typo, that's how this band spells their name. And it's not pronounced like "Mike" or "Mikey" (or "Mi-yike", as I have jokingly pronounced their name based on how it has two "i"s), but it's actually pronounced like "MEE-kay". The piano hook in this song combined with its hip-hop beats remind me of people like Fatboy Slim, only Miike Snow seem like their music is more directed at a neo-hippie, NPR-ish audience than Slim's music was. It seems as though terms like "alternative" and "indie" aren't good enough to describe a song like "Paddling Out", though. Something about it sounds more eclectic than most songs/bands that are typically considered as such. The unique musical qualities of "Paddling Out" only make me want to know more about Miike Snow, though, and hopefully the same can be said of most (if not all) of the listeners of this song!!
"Stare Into the Sun" by Graffiti 6: Before their adult alt mega-hit, "Free", "Stare Into the Sun" was actually the FIRST song to get noticed by Graffiti 6, but I guess it didn't go anywhere initially. Now, however, "Stare Into the Sun" is slowly but surely attracting more listeners! Like "Free", "Stare Into the Sun" is basically a "psychedelic soul" type of song, but it has a bit more of a "retro" '70s-style sound than "Free" did. The organs and tambourines in "Stare Into the Sun", in addition to the relentlessly optimistic sound of this song overall, make me picture a rainbow with musical notes going around Graffiti 6 as they sing this song! Plenty of songs are trippy, and plenty more are soulful, but it's rare that they'd be combined into one sound. That being said, I think we've got another big hit on our hands with this song!
"We Are the Selfish Ones" by Cowboy Junkies: To wrap up this week's review, we end with a somber song, and we started with a somber song, but the other songs in between were energetic! Odd, but I guess that's what I get for reviewing songs in alphabetical order, haha!! Anyway, this song is pretty much an entirely acoustic song from Cowboy Junkies. Not anything too out of the ordinary, I guess, but usually their songs have a bit more backbone than this one does. I was expecting a little more than this from Margo Timmins and co. It's also just a little under 3 minutes, so I feel like it could have been longer, too. This isn't a bad song, as I pretty much like everything I've heard so far from Cowboy Junkies, I just feel like "We Are the Selfish Ones" COULD use just a LITTLE more tweaking wouldn't ya say?!
"Looking For A Sign" by Beck: Beck might as well be called the David Bowie of the '90s and 21st century. You never knew what kind of Beck you were gonna get next. The wacky hip-hop/funk influenced Beck, the sensitive folkie Beck, the surf-guitar Beck, the moody, trip-hop/jazzy Beck, and the list goes on and on from there! For his latest song, "Looking For A Sign", Beck has chosen to go for sensitive folkie mode, which makes sense, considering it is on the soundtrack to the (comedic) indie film, "Jeff, Who Lives At Home". The highlighting moments of "Looking For A Sign" are not in the mood or lyrics, though, as much as they are in the unique chord progression of the song! What can I say, Beck never ceases to amaze me!
"Never Go Back" by Grace Potter and The Nocturnals: And here is yet ANOTHER musician (with a backing band) who has trodden eclectic waters! Grace started out as a quiet country-pop/rock musician, but soon went into more hard rock territory with her cover of Jefferson Airplane's "White Rabbit", as well as the punchy, Lenny Kravitz-ish "Paris (Ooh La La)". "Never Go Back" is NEITHER of the subgenres I've mentioned so far, but rather an electronic alterna-pop sound. "Never Go Back" is catchy, and combines synthesizers and guitars kind of like the typical Killers song might, but Grace sounds more detached on this song than she did on "Paris", in which she had wild but passionate vocals. Perhaps not the best decision Grace and The Noc's have made, but I still like it, and personally, it holds my attention much better than the dry, country-ish sound she had on "Ah, Mary" and "Ain't No Time".
"No Light, No Light" by Florence and The Machine: This song is equal parts electronic, alternative, soul, and gospel, but it still sounds great!! I'm pretty convinced Flo can do no wrong with every new song I hear by her! "No Light, No Light", of course, is no exception, no exception! The lyrics of this song seem to indicate this is a breakup song, as many of her songs tend to be, but our red-haired beauty takes the angst of her situation and turns it into full-blown, four minute opera/sermon with this song. Flo, you're just too amazing for words, what can I say?!
"North Side Gal" by JD McPherson: Wow! Has Little Richard released his comeback album?! Or maybe that's Fats Domino, or perhaps Chuck Berry?! Nope, it's the latest '50s rock influenced sensation from the 21st century, JD McPherson! I swear, this song sounds like it came out back when rock 'n' roll was as young as a newborn baby!! With the increasing lack of zippiness and zest in today's music, though, I think that's a good thing! Sometimes I feel like the world might need a new Elvis Presley, and I can't think of anyone better than JD McPherson (well, maybe the sexy, snazzy Irish gal, Imelda May would be an exception, but still...)!! It even sounds like it's own song, despite having the chord progression almost every '50s rock song has (although the end part of the song, in which JD repeatedly sings, "Crazy 'bout a north side gal", sounds a bit too similar to when Elvis repeatedly sings "Dancin' to the jailhouse rock" at the end of "Jailhouse Rock"). This is a real swingin' song, though, and I highly recommend it!!
"Paddling Out" by Miike Snow: No, "Miike" is not a typo, that's how this band spells their name. And it's not pronounced like "Mike" or "Mikey" (or "Mi-yike", as I have jokingly pronounced their name based on how it has two "i"s), but it's actually pronounced like "MEE-kay". The piano hook in this song combined with its hip-hop beats remind me of people like Fatboy Slim, only Miike Snow seem like their music is more directed at a neo-hippie, NPR-ish audience than Slim's music was. It seems as though terms like "alternative" and "indie" aren't good enough to describe a song like "Paddling Out", though. Something about it sounds more eclectic than most songs/bands that are typically considered as such. The unique musical qualities of "Paddling Out" only make me want to know more about Miike Snow, though, and hopefully the same can be said of most (if not all) of the listeners of this song!!
"Stare Into the Sun" by Graffiti 6: Before their adult alt mega-hit, "Free", "Stare Into the Sun" was actually the FIRST song to get noticed by Graffiti 6, but I guess it didn't go anywhere initially. Now, however, "Stare Into the Sun" is slowly but surely attracting more listeners! Like "Free", "Stare Into the Sun" is basically a "psychedelic soul" type of song, but it has a bit more of a "retro" '70s-style sound than "Free" did. The organs and tambourines in "Stare Into the Sun", in addition to the relentlessly optimistic sound of this song overall, make me picture a rainbow with musical notes going around Graffiti 6 as they sing this song! Plenty of songs are trippy, and plenty more are soulful, but it's rare that they'd be combined into one sound. That being said, I think we've got another big hit on our hands with this song!
"We Are the Selfish Ones" by Cowboy Junkies: To wrap up this week's review, we end with a somber song, and we started with a somber song, but the other songs in between were energetic! Odd, but I guess that's what I get for reviewing songs in alphabetical order, haha!! Anyway, this song is pretty much an entirely acoustic song from Cowboy Junkies. Not anything too out of the ordinary, I guess, but usually their songs have a bit more backbone than this one does. I was expecting a little more than this from Margo Timmins and co. It's also just a little under 3 minutes, so I feel like it could have been longer, too. This isn't a bad song, as I pretty much like everything I've heard so far from Cowboy Junkies, I just feel like "We Are the Selfish Ones" COULD use just a LITTLE more tweaking wouldn't ya say?!
Wednesday, September 15, 2010
ELEVEN SONGS!!
Eleven songs?!? THIS is gonna be GOOD!!! Here they are:
"Boy" by Ra Ra Riot: This song has done two fantastic things for me! First of all, it's keeping the uniquely quirky new wave influenced indie sound of bands like Vampire Weekend, Arcade Fire, and Phoenix alive and well, but it also has an incredible music video. Why? 'Cuz it has KITTIES!! (I'm a cat lover, so please bear with me here). An orange tabby cat (and his orange tabby cat friends, or perhaps clones of his) appear on and off throughout the video, and during the chorus, their eyes glow in the dark to make one giant cat's eye! As if that wasn't neat enough, the instrumentation in "Boy" is also very well-crafted. Unlike the typical Vampire Weekend, Arcade Fire, or Phoenix song, this song does NOT start out with a guitar, but rather a new wave-y keyboard sound backed up by a loud, thumping bass. The guitar comes in during the chorus, as does some random orchestral instrumentation (Arcade Fire, anyone?) There's also a brief guitar solo in this song as well. All in all, "Boy" is a very entertaining, catchy, and well-thought out piece of music.
"Buttercups" by Fran Healy: Make no mistake, "Fran" is not a girl's name in this case. It is, instead, the name of British indie-folk-rock band Travis's first name. "Buttercups" could easily be mistaken for a Travis song, rather than just one by the lead singer of the band, for its full-band instrumentation, passionate vocals, and wistful tones. Travis' songs typically have quirky lyrics and one-word titles (the most well-known being "Sing" and "Side"), and "Buttercups" continues in that tradition, of being both one word long and having charmingly unusual lyrics (The best one being, "If I had a diamond ring, I'd wear it through my nose". I'd like to see Fran Healy try to do THAT sometime!!)
"Coquet Coquette" by of Montreal: "Coquet Coquette"?!? Is there an echo in here, is there an echo in here?!? No, there isn't, it's just the title of of Montreal's latest tune that seems to be influenced largely by the "retro rock" sounds of such bands as The White Stripes and Muse. For of Montreal, I'm not sure if this shift in sound is a good thing or a bad thing. It's not like this is the first time the oddly named indie band has gotten attention, as "Wraith Pinned to the Mist And Other Tales" was featured in an Outback Steakhouse commercial, and they even did a children's song about brushing teeth for the neo-"Sesame Street"-ish kid's show "Yo Gabba Gabba" that received a fair amount of attention as well. However, both of those seemed more like psychedelic pop tunes than attempts to receive airplay on major alt/modern rock stations. "Coquet Coquette" still features the psychedelic element that is present on most of of Montreal's material, but it seems to be filtered through '70s classic rock a la Led Zeppelin, Pink Floyd, Queen, etc. the way that many of The White Stripes and Muse's material seems to be. Nevertheless, "Coquet Coquette" is still worth listening to. Oh, and one more thing, "coquette" is a term that basically means "flirt" and mainly applies to women (I believe of Montreal made up the counterpart term, "coquet", to add more flavor to the song).
"Indecision" by Steven Page: The former Barenaked Ladies member proves he still has the flair for catchy melodies and clever lyrics, even as a SOLO artist! Some feat for a man from a band that's been around for nearly 20 years!! Instrumentally, Page tweaks up his typical sound a bit (think "The Big Bang Theory" theme mixed with a Sergio Mendes tune!) Who would have thought he'd use Latin jazz-style instrumentation in the verses of "Indecision" and STILL sound good?! As in the usual BNL lyrical fashion, there are some witty, tongue-in-cheek lyrics to be found in this song as well (like in the chorus, in which Page sings, "Then again, my addiction to indecision keeps me here"). "Addiction to indecision" sounds like it could function simultaneously as an oxymoron AND a tongue-twister. Some of my own poetry and music has a tendency to sprinkle in some wordplay like this does. What can I say, great minds think alike!
"Lasso" by Phoenix: If I had to describe Phoenix's music in one word, I'd choose the word "catchy". "1901" and "Lisztomania" have already been stuck in my head numerous times, and probably in the minds of many others as well since they both became massive hits! Though "Lasso" hasn't quite received the amount of attention that the aforementioned two songs have, I think it has the potential to do so sometime soon. It uses the basic Phoenix formula of danceable, stick-in-your-head song, easy to memorize chorus ("Where would you go, where would you go, would you go with a lasso?/Could you run into, could you run into, could you run into me?"), and quirky lyrics (see the chorus that I typed earlier in this sentence). "Lasso" also seems to be more straight-up rock music than the techno/rock hybrids that "1901" and "Lisztomania" ended up being. It has a sound that's probably comparable to bands like The Killers and the "edgier" side of Snow Patrol. Think of those two bands, backed by a consistently organized rhythm section, and add just a small dash of The Police's "Message In A Bottle", and you should have a pretty good idea of what "Lasso" sounds like!
"Paris (Ooh La La)" by Grace Potter and The Nocturnals: Grace Potter normally has a sound that might remind one of the organic, earthy country sounds of Lucinda Williams. This year, however, Grace and The Nocturnals proved they could rock out with the best of 'em, earlier this year with their cover of Jefferson Airplane's "White Rabbit", and now with the Lenny Kravitz-esque "Paris"! Perhaps Grace is trying TOO hard to let out her inner rock star with the lyrics of this song (i.e. "You got me up on your swing/So when you gonna shake that thing?", a BIG departure from the down-home-y, humble flavor of "Ah Mary", her debut single). However, "Paris" is a darn catchy song with guitar riffs that would make Jimi Hendrix proud! (Or at least entertained). And if Grace wants to be more of a Janis than a Lucinda, well then, she's found just the right sound to please my ears!!
"Radioactive" by Kings of Leon: Ever since their 2008 breakthrough record, "Only By the Night", all sides of the rock 'n' roll spectrum just couldn't seem to get enough of Kings of Leon. With their latest release, it's seems like KOL fever has only continued to rise, as it has received IMMEDIATE attention on the adult. alt charts, the "regular" alt charts, and the mainstream rock (combination of classic rock and "harder" modern rock) charts simultaneously!! So how does "Radioactive" measure up to the contagious melodies and hooks of "Sex On Fire", "Use Somebody", and "Notion"?! It could easily join the ranks of those songs for sure! (It already HAS on many rock stations of all kinds!!) However, a major difference between those songs and "Radioactive" is a shift in influence from '70s rock to '80s rock. "Radioactive" sounds like a mix of U2 and some of the more "spacey" David Bowie songs (i.e. "Ashes to Ashes"). Perhaps it doesn't matter what era of music KOL want to emulate, as long as their music is able to stick in the heads of millions of fans!!
"Spectacular Girl" by Eels: Despite their slimy name, Eels have a rather mellow sound for the most part, much like many of the songs Beck did in the 2000's. Sometimes it almost seems as though E (Eels' frontman, born Mark Oliver Everett) and Beck have composed songs cut from the same cloth (in fact "Spectacular Girl" reminds me a great deal of Beck's '08 hit, "Orphans"). Both "Orphans" and "Spectacular Girl" use electronic instruments in a soothing fashion, and add in more typically calming instruments, such as flutes, as the songs progress. Although "Spectacular Girl" is basically a Beck soundalike, it's still a great song to me, with its breezy, chillout vibe that I often crave in the songs I listen to to make me feel happy and satisfied inside!
"Witchcraft" by Matt Costa: Most people who are familiar with Matt Costa's music probably know him best for taking an indie rock approach to the "ultra-mellow" sounds of musicians like Jack Johnson and Dave Matthews. However, Matt decided to trade in that mellow acoustic sound for some Donovan-esque psychedelia and turn up his amp on "Witchcraft"! Though Costa is not British, his voice (and a little bit of his music) sounds much like The Zombies' Colin Bluntstone, who is British, on this track. If Costa continues in this psychedelically influenced trend, he'll likely be remembered as a 21st century version of Donovan for going from folk-rock to psychedelia. Even the theme of this song tends to evoke Donovan somewhat ("Season of the Witch", anyone?!) Lyrically, it takes on the familiar '60s rock theme of singing about a girl who messes around with a guys emotions (so much so, in this song, that Matt Costa proclaims in the chorus that the girl in question "must be using witchcraft"). This song is an absolute must for any fans of The Zombies, Donovan, Jefferson Airplane, etc!
"Wrote A Song For Everyone" by Mavis Staples: The former '70s soul woman returns after many years with a Creedence Clearwater Revival cover! Staples seems to cover the CCR tune pretty accurately, to the point of which it SOUNDS like something CCR (or similar acts, like The Band) might have done, complete with a guitar solo! Her version actually seems more rock 'n' roll oriented, at times, than CCR's original version. It's neat to hear an early '70s musical icon covering yet another early '70s musical icon! I would love to know John Fogerty's reaction to Mavis Staples' version!
"You Can Dance" by Bryan Ferry: Before I begin, is it just me, or is it a bit odd that both of the leading musicians in Roxy Music were named "Brian"?! (the other being Brian Eno) The two of them are both fairly well-known both in Roxy Music and as solo performers in the music world, though Ferry went in more of a pop-oriented direction, and Eno in a more "experimental" one. Ferry continues doing the same "sophisticated" pop music he did with his biggest hit of the '80s, "Slave to Love" (in fact "Slave to Love" and "You Can Dance" actually sound quite similar). "Slave to Love" was probably a more compelling, seductive sort of song, but Ferry's attempts to repeat this on "You Can Dance" aren't bad. However, I would still recommend his older material much more than "You Can Dance".
"Boy" by Ra Ra Riot: This song has done two fantastic things for me! First of all, it's keeping the uniquely quirky new wave influenced indie sound of bands like Vampire Weekend, Arcade Fire, and Phoenix alive and well, but it also has an incredible music video. Why? 'Cuz it has KITTIES!! (I'm a cat lover, so please bear with me here). An orange tabby cat (and his orange tabby cat friends, or perhaps clones of his) appear on and off throughout the video, and during the chorus, their eyes glow in the dark to make one giant cat's eye! As if that wasn't neat enough, the instrumentation in "Boy" is also very well-crafted. Unlike the typical Vampire Weekend, Arcade Fire, or Phoenix song, this song does NOT start out with a guitar, but rather a new wave-y keyboard sound backed up by a loud, thumping bass. The guitar comes in during the chorus, as does some random orchestral instrumentation (Arcade Fire, anyone?) There's also a brief guitar solo in this song as well. All in all, "Boy" is a very entertaining, catchy, and well-thought out piece of music.
"Buttercups" by Fran Healy: Make no mistake, "Fran" is not a girl's name in this case. It is, instead, the name of British indie-folk-rock band Travis's first name. "Buttercups" could easily be mistaken for a Travis song, rather than just one by the lead singer of the band, for its full-band instrumentation, passionate vocals, and wistful tones. Travis' songs typically have quirky lyrics and one-word titles (the most well-known being "Sing" and "Side"), and "Buttercups" continues in that tradition, of being both one word long and having charmingly unusual lyrics (The best one being, "If I had a diamond ring, I'd wear it through my nose". I'd like to see Fran Healy try to do THAT sometime!!)
"Coquet Coquette" by of Montreal: "Coquet Coquette"?!? Is there an echo in here, is there an echo in here?!? No, there isn't, it's just the title of of Montreal's latest tune that seems to be influenced largely by the "retro rock" sounds of such bands as The White Stripes and Muse. For of Montreal, I'm not sure if this shift in sound is a good thing or a bad thing. It's not like this is the first time the oddly named indie band has gotten attention, as "Wraith Pinned to the Mist And Other Tales" was featured in an Outback Steakhouse commercial, and they even did a children's song about brushing teeth for the neo-"Sesame Street"-ish kid's show "Yo Gabba Gabba" that received a fair amount of attention as well. However, both of those seemed more like psychedelic pop tunes than attempts to receive airplay on major alt/modern rock stations. "Coquet Coquette" still features the psychedelic element that is present on most of of Montreal's material, but it seems to be filtered through '70s classic rock a la Led Zeppelin, Pink Floyd, Queen, etc. the way that many of The White Stripes and Muse's material seems to be. Nevertheless, "Coquet Coquette" is still worth listening to. Oh, and one more thing, "coquette" is a term that basically means "flirt" and mainly applies to women (I believe of Montreal made up the counterpart term, "coquet", to add more flavor to the song).
"Indecision" by Steven Page: The former Barenaked Ladies member proves he still has the flair for catchy melodies and clever lyrics, even as a SOLO artist! Some feat for a man from a band that's been around for nearly 20 years!! Instrumentally, Page tweaks up his typical sound a bit (think "The Big Bang Theory" theme mixed with a Sergio Mendes tune!) Who would have thought he'd use Latin jazz-style instrumentation in the verses of "Indecision" and STILL sound good?! As in the usual BNL lyrical fashion, there are some witty, tongue-in-cheek lyrics to be found in this song as well (like in the chorus, in which Page sings, "Then again, my addiction to indecision keeps me here"). "Addiction to indecision" sounds like it could function simultaneously as an oxymoron AND a tongue-twister. Some of my own poetry and music has a tendency to sprinkle in some wordplay like this does. What can I say, great minds think alike!
"Lasso" by Phoenix: If I had to describe Phoenix's music in one word, I'd choose the word "catchy". "1901" and "Lisztomania" have already been stuck in my head numerous times, and probably in the minds of many others as well since they both became massive hits! Though "Lasso" hasn't quite received the amount of attention that the aforementioned two songs have, I think it has the potential to do so sometime soon. It uses the basic Phoenix formula of danceable, stick-in-your-head song, easy to memorize chorus ("Where would you go, where would you go, would you go with a lasso?/Could you run into, could you run into, could you run into me?"), and quirky lyrics (see the chorus that I typed earlier in this sentence). "Lasso" also seems to be more straight-up rock music than the techno/rock hybrids that "1901" and "Lisztomania" ended up being. It has a sound that's probably comparable to bands like The Killers and the "edgier" side of Snow Patrol. Think of those two bands, backed by a consistently organized rhythm section, and add just a small dash of The Police's "Message In A Bottle", and you should have a pretty good idea of what "Lasso" sounds like!
"Paris (Ooh La La)" by Grace Potter and The Nocturnals: Grace Potter normally has a sound that might remind one of the organic, earthy country sounds of Lucinda Williams. This year, however, Grace and The Nocturnals proved they could rock out with the best of 'em, earlier this year with their cover of Jefferson Airplane's "White Rabbit", and now with the Lenny Kravitz-esque "Paris"! Perhaps Grace is trying TOO hard to let out her inner rock star with the lyrics of this song (i.e. "You got me up on your swing/So when you gonna shake that thing?", a BIG departure from the down-home-y, humble flavor of "Ah Mary", her debut single). However, "Paris" is a darn catchy song with guitar riffs that would make Jimi Hendrix proud! (Or at least entertained). And if Grace wants to be more of a Janis than a Lucinda, well then, she's found just the right sound to please my ears!!
"Radioactive" by Kings of Leon: Ever since their 2008 breakthrough record, "Only By the Night", all sides of the rock 'n' roll spectrum just couldn't seem to get enough of Kings of Leon. With their latest release, it's seems like KOL fever has only continued to rise, as it has received IMMEDIATE attention on the adult. alt charts, the "regular" alt charts, and the mainstream rock (combination of classic rock and "harder" modern rock) charts simultaneously!! So how does "Radioactive" measure up to the contagious melodies and hooks of "Sex On Fire", "Use Somebody", and "Notion"?! It could easily join the ranks of those songs for sure! (It already HAS on many rock stations of all kinds!!) However, a major difference between those songs and "Radioactive" is a shift in influence from '70s rock to '80s rock. "Radioactive" sounds like a mix of U2 and some of the more "spacey" David Bowie songs (i.e. "Ashes to Ashes"). Perhaps it doesn't matter what era of music KOL want to emulate, as long as their music is able to stick in the heads of millions of fans!!
"Spectacular Girl" by Eels: Despite their slimy name, Eels have a rather mellow sound for the most part, much like many of the songs Beck did in the 2000's. Sometimes it almost seems as though E (Eels' frontman, born Mark Oliver Everett) and Beck have composed songs cut from the same cloth (in fact "Spectacular Girl" reminds me a great deal of Beck's '08 hit, "Orphans"). Both "Orphans" and "Spectacular Girl" use electronic instruments in a soothing fashion, and add in more typically calming instruments, such as flutes, as the songs progress. Although "Spectacular Girl" is basically a Beck soundalike, it's still a great song to me, with its breezy, chillout vibe that I often crave in the songs I listen to to make me feel happy and satisfied inside!
"Witchcraft" by Matt Costa: Most people who are familiar with Matt Costa's music probably know him best for taking an indie rock approach to the "ultra-mellow" sounds of musicians like Jack Johnson and Dave Matthews. However, Matt decided to trade in that mellow acoustic sound for some Donovan-esque psychedelia and turn up his amp on "Witchcraft"! Though Costa is not British, his voice (and a little bit of his music) sounds much like The Zombies' Colin Bluntstone, who is British, on this track. If Costa continues in this psychedelically influenced trend, he'll likely be remembered as a 21st century version of Donovan for going from folk-rock to psychedelia. Even the theme of this song tends to evoke Donovan somewhat ("Season of the Witch", anyone?!) Lyrically, it takes on the familiar '60s rock theme of singing about a girl who messes around with a guys emotions (so much so, in this song, that Matt Costa proclaims in the chorus that the girl in question "must be using witchcraft"). This song is an absolute must for any fans of The Zombies, Donovan, Jefferson Airplane, etc!
"Wrote A Song For Everyone" by Mavis Staples: The former '70s soul woman returns after many years with a Creedence Clearwater Revival cover! Staples seems to cover the CCR tune pretty accurately, to the point of which it SOUNDS like something CCR (or similar acts, like The Band) might have done, complete with a guitar solo! Her version actually seems more rock 'n' roll oriented, at times, than CCR's original version. It's neat to hear an early '70s musical icon covering yet another early '70s musical icon! I would love to know John Fogerty's reaction to Mavis Staples' version!
"You Can Dance" by Bryan Ferry: Before I begin, is it just me, or is it a bit odd that both of the leading musicians in Roxy Music were named "Brian"?! (the other being Brian Eno) The two of them are both fairly well-known both in Roxy Music and as solo performers in the music world, though Ferry went in more of a pop-oriented direction, and Eno in a more "experimental" one. Ferry continues doing the same "sophisticated" pop music he did with his biggest hit of the '80s, "Slave to Love" (in fact "Slave to Love" and "You Can Dance" actually sound quite similar). "Slave to Love" was probably a more compelling, seductive sort of song, but Ferry's attempts to repeat this on "You Can Dance" aren't bad. However, I would still recommend his older material much more than "You Can Dance".
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