here they are:
"Carter And Cash" by Tor Miller: Between the Jeff Buckley/Tom Waits influence of Tor's previous hit song, "Midnight", and the name checking of two country-rock icons in "Carter And Cash", I would have expected the latter song to have a more roots-y Americana flavor, but it doesn't. Instead, "Carter And Cash" sounds more like a danceable indie-pop song in the vein of Grouplove or Walk the Moon. Perhaps if this song became a single before "Midnight" did, Tor Miller would be a much better known musician, but that's the way the cookie crumbles, I guess. Breaking away from the romanticized bohemian view of city life that "Midnight" had, "Carter And Cash" is just a simple love song in terms of its lyrical content, nothing more. Any love song that name checks Johnny Cash has gotta be worth listening to, though!
"Jackie And Wilson" by Hozier: Back when all I knew from Hozier was "Take Me to Church", a lot of people were telling me "the whole album is good". Well it just so happens that "Jackie And Wilson" is the FIFTH hit song from Hozier's debut album, so the people who listened to that album must have been right, because there aren't many albums from the 2010's with that many songs that have become popular! This particular song's title is a pun on soul music legend Jackie Wilson, probably one of many classic soul musicians who influenced the unique neo-soul stylings of Hozier. "Jackie And Wilson" is a bit grittier and blues-ier than Hozier's previous hits, and its pun based title is mentioned in the chorus when Hozier suggests that his wife name his kids Jackie and Wilson and "raise them on rhythm and blues", so perhaps that's part of why the song has such an earthy '60s soul influenced sound. It's a bit surprising that a man whose musical gumbo is equal parts soul, jazz, blues, rock, and gospel has become so popular, but what a relief it is knowing that people like him can actually succeed in a world full of plastic auto-tuned pop musicians!
"Look It Here" by Nathaniel Rateliff and The Night Sweats: During the late summer and early fall of this year, Nathaniel Rateliff and The Night Sweats went from being under-the-radar musicians who played at the "Gentlemen of the Road" music festivals to alt-rock and adult alt radio sensations with the catchy, sass-mouthed "S.O.B."!! Where that song sounded like it could have been from the '50s or further back, "Look It Here" clearly recalls '60s soul, particularly Memphis soul musicians like Otis Redding and Booker T and The MG's. Will this song make as big a splash as "S.O.B." did?! Probably not, but Rateliff's spicy brand of blue-eyed soul is just as potent here as it was in that song. "Look it here, baby, I'm comin' home", Rateliff sings during the song's chorus. You'd better believe he's comin' home, too, and he's gonna make your sensual urges run wild with fire!
Showing posts with label Johnny Cash. Show all posts
Showing posts with label Johnny Cash. Show all posts
Wednesday, November 18, 2015
Wednesday, November 30, 2011
A long (start of) December...
...and there's reason to believe, maybe this year's song list will be better than the last. Especially if there's NINE SONGS!!! That's the furthest I've gotten since I did eleven songs back in September of last year! Here they are:
"Common Burn" by Mazzy Star: I betcha a lot of you reading this can't believe your eyes, especially if you remember Mazzy Star's one big hit of the '90s, "Fade Into You". Well, Mazzy Star are back, and are getting attention again for the first time since 1993!! Their latest song, "Common Burn", retains the uber-relaxed mode of "Fade Into You", and its slow, dragging sound combined with the harmonicas in the background could easily bring to mind contemporaries of Mazzy, like Cowboy Junkies. Where "Fade Into You" was a love song, though, "Common Burn" is more a song of heartbreak and remorse, but in a very calming, almost therapeutic sort of way. If you need a song to identify with how you feel after coming home on a rainy day, "Common Burn" should satisfy your soul!!
"Fall Right Now" by Josh and The Empty Pockets: People like Mike Doughty (coming up two songs from now) and Ben Lee seem to suggest that there's a small but significant section of Barenaked Ladies influenced musicians that have popped up in the mid 2000's and are continuing to thrive today. Josh and The Empty Pockets seem to capture the typical BNL sound perfectly, though (and quite a few other acts from the '90s seemed to have influenced them as well, like Duncan Sheik and Eagle-Eye Cherry). Lyrically there really isn't anything too special about "Fall Right Now" (except maybe the ending lyrics - "and it hurts...ouch!"), but anyone looking for their '90s alt-folk-pop nostalgia fix will probably connect instantly with this song! And yes, I am one such person with an affinity for '90s alt-pop, it's the best!
"Half Moon" by Blind Pilot: Blind Pilot's buoyant, relentlessly happy "We Are the Tide", released right at the cusp of late August/early September of this year, seemed to put them in the same company as public radio darlings like Gomez and Good Old War. Their latest, "Half Moon", seems to lean more towards the sentimental but still earnest alt-folk-pop/rock of bands like Alpha Rev and Scars on 45 (both of whom have had surprisingly huge success on adult alt radio stations). So how does the more yearning sound of "Half Moon" suit Blind Pilot?! Well, I honestly think Blind Pilot are better suited to bouncy, optimistic songs like "We Are the Tide" than to slower songs like "Half Moon", but "Half Moon"'s sound seems like it would be perfect for the soundtrack to a show like, say, "Grey's Anatomy" (if it hasn't been featured on there already). And if "Half Moon" is gonna get Blind Pilot more attention than they've gotten so far, that's not necessarily a bad thing.
"Holiday (What Do You Want?)" by Mike Doughty and Rosanne Cash: Sooo...the ex-lead singer of the quirky Beck-ish alt-pop band Soul Coughing duetting with country-rock legend Johnny Cash's daughter...somehow...equals...a good opportunity for a Christmas song?!? WHAAA?!?! It's an odd pairing, for certain, but perhaps they wanted to go for something along the lines of the infamous incident in which David Bowie and Bing Crosby duetted on their own version of "The Little Drummer Boy". Christmas-y imagery (and Christmas-y musical chimes) are heard throughout the song, but, in true Mike Doughty fashion, the song takes a tongue-in-cheek turnaround during the chorus, in which Doughty and Cash ask each other, "Hey, do you wish it was a holiday?" Do you WISH it was a holiday?! I thought a "holiday" was what this song was about!!
"I Love You Too Much" by The Rolling Stones: So I guess The Stones' previous "Some Girls" "outtake" ("No Spare Parts") just had such a country-ish sound to it that no one seemed to gravitate towards it enough. Thankfully, The Stones (and/or whoever their manager is) have sought to correct this by releasing the much more uptempo, rockin' "I Love You Too Much" as their next single of 2011 (though "I Love You Too Much" and "No Spare Parts" were both ORIGINALLY part of "Some Girls" from back in '78)!! A wise decision on their part, too, since it has a similar sound to other "Some Girls" songs like "Shattered", "Beast of Burden", and "Miss You". Mick Jagger's trademark attitude (and catchiness) are present throughout "I Love You Too Much". To paraphrase Mick himself, "If he can't rock you", well, I dunno who can!!
"Little Talks" by Of Monsters and Men: Acoustic guitars, richly layered harmonies, a catchy tune, a jovial rhythm section, the adding of random instruments (accordions, in this case) for good measure, and, to top it all off, the trade-off between male and female vocals throughout the song!! Put all those ingredients together, and you've got a neat little song called "Little Talks" by Of Monsters and Men, the latest indie-folk ensemble that will probably garner significant attention from those who have become fans of bands like Mumford and Sons and The Decemberists (one of those people being yours truly - me!!) Though "Little Talks" is written in a minor key, it still manages to be quite a fun song to listen to! Perhaps one of the most intriguing parts of "Little Talks", though, is the lyrical dissonance it sets off, as its lively instrumentation hides a tale of a dissatisfied relationship. Highly recommended!!
"Parted Ways" by Heartless B*st*rds: Unfortunately, only a sample of this song is available at the moment from what I can find. However, it's given me a good idea of what it sounds like. For some reason the name of this group sounds a bit more suited to a hard rock band than a roots-y indie band, but "Parted Ways"' sound suggests much more the latter than it does the former. What little I got out of the lyrics (for instance, "the hum of the wheels, they are carryin' me home") also seems apt for a band with a rather earthy, organic sound to it. Fans of Dawes, Deer Tick, Alberta Cross, and the like will probably really like this song!
"Seer" by Motopony: Motopony are as eclectic as their odd band moniker would suggest they are! In the summer of this year, their "King of Diamonds" got moderate attention on adult alt radio stations, and it had a sound that combined electronic sounds with a "chill" sorta vibe. "Seer", on the other hand, is a bit more like an electric guitar-oriented indie song with slight influence by funk and jazz. The vocals in each song are also radically different from what I can tell!! (Do Motopony have multiple lead singers?!) At first, it sounds like "Seer" steals the main hook from Simon and Garfunkel's "Mrs. Robinson", but as "Seer" progresses, it seems to turn into a different song entirely!
"Show Me the Place" by Leonard Cohen: That's right, I've saved the best song (and artist) for last!! By coincidence, really, since it begins with the letter "S", and there are no songs with titles beginning with "T" through "Z" in this week's entry. But still, there's no denying what a powerful presence Leonard Cohen is!! (His son, Adam, has also released a new CD, though sadly, that one isn't getting as much attention). Be it the yearning "Suzanne", the spooky "Everybody Knows", or the seductive "I'm Your Man", Cohen always pours his heart and soul out in every song he does!! With his latest song, "Show Me the Place", it shows that Cohen's spirit is still as alive as it ever was!! It is a melancholy song, done mostly on piano, with occasional accompaniment from violins in the background (and various female singers on backing vocals). "Show Me the Place" is one of those songs that just takes me to another place when I listen to it! I am absolutely awestruck by it, and I hope you are too!!
"Common Burn" by Mazzy Star: I betcha a lot of you reading this can't believe your eyes, especially if you remember Mazzy Star's one big hit of the '90s, "Fade Into You". Well, Mazzy Star are back, and are getting attention again for the first time since 1993!! Their latest song, "Common Burn", retains the uber-relaxed mode of "Fade Into You", and its slow, dragging sound combined with the harmonicas in the background could easily bring to mind contemporaries of Mazzy, like Cowboy Junkies. Where "Fade Into You" was a love song, though, "Common Burn" is more a song of heartbreak and remorse, but in a very calming, almost therapeutic sort of way. If you need a song to identify with how you feel after coming home on a rainy day, "Common Burn" should satisfy your soul!!
"Fall Right Now" by Josh and The Empty Pockets: People like Mike Doughty (coming up two songs from now) and Ben Lee seem to suggest that there's a small but significant section of Barenaked Ladies influenced musicians that have popped up in the mid 2000's and are continuing to thrive today. Josh and The Empty Pockets seem to capture the typical BNL sound perfectly, though (and quite a few other acts from the '90s seemed to have influenced them as well, like Duncan Sheik and Eagle-Eye Cherry). Lyrically there really isn't anything too special about "Fall Right Now" (except maybe the ending lyrics - "and it hurts...ouch!"), but anyone looking for their '90s alt-folk-pop nostalgia fix will probably connect instantly with this song! And yes, I am one such person with an affinity for '90s alt-pop, it's the best!
"Half Moon" by Blind Pilot: Blind Pilot's buoyant, relentlessly happy "We Are the Tide", released right at the cusp of late August/early September of this year, seemed to put them in the same company as public radio darlings like Gomez and Good Old War. Their latest, "Half Moon", seems to lean more towards the sentimental but still earnest alt-folk-pop/rock of bands like Alpha Rev and Scars on 45 (both of whom have had surprisingly huge success on adult alt radio stations). So how does the more yearning sound of "Half Moon" suit Blind Pilot?! Well, I honestly think Blind Pilot are better suited to bouncy, optimistic songs like "We Are the Tide" than to slower songs like "Half Moon", but "Half Moon"'s sound seems like it would be perfect for the soundtrack to a show like, say, "Grey's Anatomy" (if it hasn't been featured on there already). And if "Half Moon" is gonna get Blind Pilot more attention than they've gotten so far, that's not necessarily a bad thing.
"Holiday (What Do You Want?)" by Mike Doughty and Rosanne Cash: Sooo...the ex-lead singer of the quirky Beck-ish alt-pop band Soul Coughing duetting with country-rock legend Johnny Cash's daughter...somehow...equals...a good opportunity for a Christmas song?!? WHAAA?!?! It's an odd pairing, for certain, but perhaps they wanted to go for something along the lines of the infamous incident in which David Bowie and Bing Crosby duetted on their own version of "The Little Drummer Boy". Christmas-y imagery (and Christmas-y musical chimes) are heard throughout the song, but, in true Mike Doughty fashion, the song takes a tongue-in-cheek turnaround during the chorus, in which Doughty and Cash ask each other, "Hey, do you wish it was a holiday?" Do you WISH it was a holiday?! I thought a "holiday" was what this song was about!!
"I Love You Too Much" by The Rolling Stones: So I guess The Stones' previous "Some Girls" "outtake" ("No Spare Parts") just had such a country-ish sound to it that no one seemed to gravitate towards it enough. Thankfully, The Stones (and/or whoever their manager is) have sought to correct this by releasing the much more uptempo, rockin' "I Love You Too Much" as their next single of 2011 (though "I Love You Too Much" and "No Spare Parts" were both ORIGINALLY part of "Some Girls" from back in '78)!! A wise decision on their part, too, since it has a similar sound to other "Some Girls" songs like "Shattered", "Beast of Burden", and "Miss You". Mick Jagger's trademark attitude (and catchiness) are present throughout "I Love You Too Much". To paraphrase Mick himself, "If he can't rock you", well, I dunno who can!!
"Little Talks" by Of Monsters and Men: Acoustic guitars, richly layered harmonies, a catchy tune, a jovial rhythm section, the adding of random instruments (accordions, in this case) for good measure, and, to top it all off, the trade-off between male and female vocals throughout the song!! Put all those ingredients together, and you've got a neat little song called "Little Talks" by Of Monsters and Men, the latest indie-folk ensemble that will probably garner significant attention from those who have become fans of bands like Mumford and Sons and The Decemberists (one of those people being yours truly - me!!) Though "Little Talks" is written in a minor key, it still manages to be quite a fun song to listen to! Perhaps one of the most intriguing parts of "Little Talks", though, is the lyrical dissonance it sets off, as its lively instrumentation hides a tale of a dissatisfied relationship. Highly recommended!!
"Parted Ways" by Heartless B*st*rds: Unfortunately, only a sample of this song is available at the moment from what I can find. However, it's given me a good idea of what it sounds like. For some reason the name of this group sounds a bit more suited to a hard rock band than a roots-y indie band, but "Parted Ways"' sound suggests much more the latter than it does the former. What little I got out of the lyrics (for instance, "the hum of the wheels, they are carryin' me home") also seems apt for a band with a rather earthy, organic sound to it. Fans of Dawes, Deer Tick, Alberta Cross, and the like will probably really like this song!
"Seer" by Motopony: Motopony are as eclectic as their odd band moniker would suggest they are! In the summer of this year, their "King of Diamonds" got moderate attention on adult alt radio stations, and it had a sound that combined electronic sounds with a "chill" sorta vibe. "Seer", on the other hand, is a bit more like an electric guitar-oriented indie song with slight influence by funk and jazz. The vocals in each song are also radically different from what I can tell!! (Do Motopony have multiple lead singers?!) At first, it sounds like "Seer" steals the main hook from Simon and Garfunkel's "Mrs. Robinson", but as "Seer" progresses, it seems to turn into a different song entirely!
"Show Me the Place" by Leonard Cohen: That's right, I've saved the best song (and artist) for last!! By coincidence, really, since it begins with the letter "S", and there are no songs with titles beginning with "T" through "Z" in this week's entry. But still, there's no denying what a powerful presence Leonard Cohen is!! (His son, Adam, has also released a new CD, though sadly, that one isn't getting as much attention). Be it the yearning "Suzanne", the spooky "Everybody Knows", or the seductive "I'm Your Man", Cohen always pours his heart and soul out in every song he does!! With his latest song, "Show Me the Place", it shows that Cohen's spirit is still as alive as it ever was!! It is a melancholy song, done mostly on piano, with occasional accompaniment from violins in the background (and various female singers on backing vocals). "Show Me the Place" is one of those songs that just takes me to another place when I listen to it! I am absolutely awestruck by it, and I hope you are too!!
Wednesday, February 17, 2010
New songs for Feb. 17th
Got 5 new ones just waitin' to be reviewed!! And here they are:
"Ain't No Grave" by Johnny Cash: Yes, it's another Johnny Cash cover song released after his death. This one's a little different than the others that have been released since "Hurt", in that it's a traditional folk song, rather than an alternative rock song, that is being covered. It really makes me wonder just how many songs Cash recorded in the double zeroes. Oh well, it's still a good song.
"Beat the Devil's Tattoo" by Black Rebel Motorcycle Club: It's interesting how ever since BRMC broke through with "Shuffle Your Feet" and "Ain't No Easy Way" back in 2004, all their songs since have sounded like an attempt to mix The White Stripes with acoustic blues. Supposedly, that's not the way they sounded before those songs came out (though I don't know this for sure). But "Beat the Devil's Tattoo" continues in the tradition of mixing The White Stripes with acoustic blues. I like the primal rhythm in this song 'cause it kinda reminds me of "Wild Thing" by The Troggs. Perhaps BRMC have been listening to The Raconteurs, since "Beat the Devil's Tattoo" starts out (vaguely) acoustic, and then picks up with an electric guitar backing it up in the middle - much like The Raconteurs' "Old Enough" and "Top Yourself"
"In the Sun" by She And Him: You know I love my Zooey Deschanel!! And she's back (with M. Ward) with a new song. I have only heard one other song from this dynamic duo, "Why Do You Let Me Stay Here?" and this one sounds significantly different. In "...Stay Here", Zooey went for an old-fashioned sound that almost sounded like it belonged in another decade - like a very happy, piano-based country-rock sound. Zooey gets her indie on, so to speak, in "In the Sun" (not to be confused with the poignant Joseph Arthur song of the same name). It's still bright, happy, and toe-tapping, like "...Stay Here", but it uses more instruments and production techniques that make it sound more like sunshiny indie-pop a la "Silver Lining" by Rilo Kiley. That being said, "In the Sun" is probably the one I like less out of the two songs I've heard from She And Him, but it's still worth checking out!
"Lisztomania" by Phoenix: If you've heard Phoenix's other big song, the mega-hit, "1901", you probably know one thing about Phoenix - they love making rhythmic music! "Lisztomania" picks up where "1901" left off. Instead of having techno inspired beats and a chunky guitar sound like "1901" did, "Lisztomania" has a more happy, toe-tapping sound, a looser guitar sound, and a tinkly piano sound added in for good measure. Interestingly, both songs are in the key of C major, though "Lisztomania" is consistent about this, whereas "1901" had A minor verses with a C major chorus. It's interesting to compare the two songs, since they are the only two so far I've heard by Phoenix, but the diversity of influence between the two songs proves what a talented band Phoenix are! So I highly recommend checking "Lisztomania" out, if you haven't already!
"Valleys of Neptune" by Jimi Hendrix: Interesting that both the song I began with AND ended with this time are "undiscovered" releases by dead rock stars! I almost held off on this one (it actually debuted last week), because it's just so darn weird having a Hendrix song on so many adult alt. stations. Guess there's a ringer every year, though (last year's was Depeche Mode's "Wrong", which also came out around February). Not that I have anything against Hendrix (after all, classic rock was my main musical love before I discovered adult alt. music), but most of his material seems a bit too heavy to be included on most adult alt. stations. What's even more perplexing is that "Valleys of Neptune" is no "Wind Cries Mary" or "Castles Made of Sand" - it sounds a bit more like a "faster" Hendrix track, like "Crosstown Traffic". Perhaps the stations that are playing this want to move beyond their standard fare of Red Hot Chili Peppers and Pearl Jam to show that they also have equal respect for those who influenced them. Could a new Led Zeppelin or Who track be far behind?!?
"Ain't No Grave" by Johnny Cash: Yes, it's another Johnny Cash cover song released after his death. This one's a little different than the others that have been released since "Hurt", in that it's a traditional folk song, rather than an alternative rock song, that is being covered. It really makes me wonder just how many songs Cash recorded in the double zeroes. Oh well, it's still a good song.
"Beat the Devil's Tattoo" by Black Rebel Motorcycle Club: It's interesting how ever since BRMC broke through with "Shuffle Your Feet" and "Ain't No Easy Way" back in 2004, all their songs since have sounded like an attempt to mix The White Stripes with acoustic blues. Supposedly, that's not the way they sounded before those songs came out (though I don't know this for sure). But "Beat the Devil's Tattoo" continues in the tradition of mixing The White Stripes with acoustic blues. I like the primal rhythm in this song 'cause it kinda reminds me of "Wild Thing" by The Troggs. Perhaps BRMC have been listening to The Raconteurs, since "Beat the Devil's Tattoo" starts out (vaguely) acoustic, and then picks up with an electric guitar backing it up in the middle - much like The Raconteurs' "Old Enough" and "Top Yourself"
"In the Sun" by She And Him: You know I love my Zooey Deschanel!! And she's back (with M. Ward) with a new song. I have only heard one other song from this dynamic duo, "Why Do You Let Me Stay Here?" and this one sounds significantly different. In "...Stay Here", Zooey went for an old-fashioned sound that almost sounded like it belonged in another decade - like a very happy, piano-based country-rock sound. Zooey gets her indie on, so to speak, in "In the Sun" (not to be confused with the poignant Joseph Arthur song of the same name). It's still bright, happy, and toe-tapping, like "...Stay Here", but it uses more instruments and production techniques that make it sound more like sunshiny indie-pop a la "Silver Lining" by Rilo Kiley. That being said, "In the Sun" is probably the one I like less out of the two songs I've heard from She And Him, but it's still worth checking out!
"Lisztomania" by Phoenix: If you've heard Phoenix's other big song, the mega-hit, "1901", you probably know one thing about Phoenix - they love making rhythmic music! "Lisztomania" picks up where "1901" left off. Instead of having techno inspired beats and a chunky guitar sound like "1901" did, "Lisztomania" has a more happy, toe-tapping sound, a looser guitar sound, and a tinkly piano sound added in for good measure. Interestingly, both songs are in the key of C major, though "Lisztomania" is consistent about this, whereas "1901" had A minor verses with a C major chorus. It's interesting to compare the two songs, since they are the only two so far I've heard by Phoenix, but the diversity of influence between the two songs proves what a talented band Phoenix are! So I highly recommend checking "Lisztomania" out, if you haven't already!
"Valleys of Neptune" by Jimi Hendrix: Interesting that both the song I began with AND ended with this time are "undiscovered" releases by dead rock stars! I almost held off on this one (it actually debuted last week), because it's just so darn weird having a Hendrix song on so many adult alt. stations. Guess there's a ringer every year, though (last year's was Depeche Mode's "Wrong", which also came out around February). Not that I have anything against Hendrix (after all, classic rock was my main musical love before I discovered adult alt. music), but most of his material seems a bit too heavy to be included on most adult alt. stations. What's even more perplexing is that "Valleys of Neptune" is no "Wind Cries Mary" or "Castles Made of Sand" - it sounds a bit more like a "faster" Hendrix track, like "Crosstown Traffic". Perhaps the stations that are playing this want to move beyond their standard fare of Red Hot Chili Peppers and Pearl Jam to show that they also have equal respect for those who influenced them. Could a new Led Zeppelin or Who track be far behind?!?
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