New songs for April 27th, 2022

 Here they are:


"I'm on Your Side" by Nathaniel Rateliff and The Night Sweats: After having had singles with both a powerhouse soul song ("Survivor") and a more bittersweet country-rock song ("Face Down in the Moment") recently, Nathaniel Rateliff and The Night Sweats decided to combine the two factors for their latest song, "I'm on Your Side." One can infer from the title alone that "I'm on Your Side" is a heartfelt song, and it certainly is, and this gives it sort of a bittersweet flavor. However, the song's steady beat and heavy use of horns should be pleasing to fans of Nathaniel's more upbeat, soulful side. 

"Just a Little While" by The 502s: Although nowhere near as memorable as groups like Mumford and Sons, The 502s are already drawing comparisons to the famed 2010's neo-folk act for a few reasons. For one, both sound like Irish folk-rock groups with a roots-y flavor, and both also have gratuitous yet still enjoyable use of horns. The difference? Mumford and Sons sounded Irish, but The 502s actually ARE Irish. Another notable difference is how upbeat and summery this song sounds in comparison to Mumford and Sons' more melancholy winterish chill and autumnal calm. 

"Love Me More" by Mitski: I've reviewed Mitski's material a few times on my blog, but no Mitski song so far has compared to the compelling sound and surprise success of her "The Only Heartbreaker" from last fall! Will her new song, "Love Me More," outdo the success of "The Only Heartbreaker"? Time will tell. It doesn't seem too likely at this point, although both songs are catchy synth-pop based numbers. Both songs are pleas for love, although "The Only Heartbreaker" seemed to indulge more in self-pity, whereas "Love Me More" is a song of hope...kind of. There is still an urgency to this song, but at least Mitski has now moved from self-blame to the desire for love.

"Sidelines" by Phoebe Bridgers: Probably the most vulnerable song on my list for this week, both in terms of its sound and in terms of its lyrics, Phoebe Bridgers really spills her heart out on her latest song, "Sidelines." In a change of pace for Phoebe, "Sidelines" is more rooted in synth than it is in guitar, but it manages to be quite a powerful song nonetheless (the string sections in the background help to draw the listener into a deeper sense of pathos than they were already in). She claims she's not afraid of anything in the song, but that statement is clearly meant to be a cover for how she actually feels about things like aging, dying, living on a fault line (literally, in this case - Phoebe lives in Southern California like I do). "Sidelines" is such a poignant song! It is the story of someone who has survived emotional trauma, is willing to come forward about it, but still not fully willing to face what she has gone through head on. I can relate!

New songs for November 17th, 2021

 here they are:

"Chapstick" by Coin: Coin are a band worth every penny to listen to! Their style is one that hasn't really been attempted before, mixing fuzzy, blues-y garage rock riffs with more electronic rhythm instruments. The title of the song is probably one of the strangest sexual metaphors I've heard yet in a song so far, with lead singer Chase Lawrence saying to his objection of affections that he "wants to taste (their) chapstick." Both the lyrics and the music to this song are weird and cool at the same time!

"Face Down in the Moment" by Nathaniel Rateliff and The Night Sweats: Nathaniel is usually more soulful and peppy with The Night Sweats, as opposed to his sweeter and almost country influenced solo material, but there are exceptions to the rule, such as the bittersweet country-rock of The Night Sweats' "Wasting Time." "Face Down in the Moment" is another tune where Nathaniel sings with The Night Sweats that's a bit of a slower song. It is perhaps the most bittersweet song he has come up with yet as a performer in a band. It's a song that seems to want to show comfort and sympathy to its listeners. I do prefer The Night Sweats as a more energetic and soulful act, but this song is still worth listening to if you feel like no one understands what you've been going through.

"Love Dies Young" by Foo Fighters: Foo Fighters manage to combine two unlikely retro rock styles here with their latest song, "Love Dies Young." The beginning of the song clearly borrows from the chugging, charging guitars of Queen's debut single, "Keep Yourself Alive," while the second verse onward was apparently influenced more by the disco-pop of groups like ABBA. Well, if Blondie can manage to combine rock and disco, why not The Foos?! Apparently, the song started out as kind of a joke in terms of the rock/disco combo it ended up with, but it still manages to shine through in earnest as a solid anthem of both rock and dance-pop. 

"Once Twice Melody" by Beach House: Beach House's combination of electro-pop and light, dreamy psychedelia has always been endearing to me, and lead singer Victoria Legrand's soothing vocals only hooked me into their music more. Their latest song, "Once Twice Melody," attempts to dive a bit more into the avant-garde than they have done previously while not completely alienating their core audience. The song is slightly more bouncy than I'm used to with the largely airy, ambient music of Beach House, but it still manages to rank along with "Norway," "Zebra," and "Myth" as one of their best tracks (and the only one out of the four to have a title longer than one word!) The sighing instrumentation and Legrand's breathy vocals against pulsating synthesizers that aren't present on all of their material make "Once Twice Melody" the perfect chill-out song!

"Stand for Myself" by Yola: Yola's unique take on soul music has managed to win over adult alt radio programmers for the past two or so years, and with her latest song, "Stand for Myself," Yola takes herself in yet another new direction! Yola has sounded neither this blues-y nor this country before. Burning, churning acoustic guitars mark the intro of the song before the even more fiery electric guitars take charge from the chorus onward. The cutting lyrics of the song could fit in the context of both a political situation and in that of a relationship, and there's a good chance that Yola probably meant for the lyrics to be taken either way. There's no telling whether she wants to "stick it to the man" or to walk out on someone who did her wrong, but either way, Yola unleashes her fury here like never before and she really lets her victim have it!

"The Only Heartbreaker" by Mitski: This track, which seems to lift heavily from '80s pop tunes like "Take on Me," albeit with a slightly darker twist, is a pretty simple song lyrically. Buried beneath its repetitive lyrics, however, is the story of a woman scorned that seems more rooted in sadness than in fury. Mitski's fear is that she will be "the only heartbreaker" in her relationship. In other words, she will be the only one feeling as passionately about it as she is. That could leave anyone feeling cold, so it's no wonder the song seems so icy!

New songs for August 25th, 2021

 here they are:


"Bitter Taste" by Billy Idol: "Bitter Taste" is perhaps the first time in Billy Idol's career as a rock star that he's mellowed out into something almost resembling contemporary folk-rock. I never thought that would happen to the guy who churned out such gutsy, fist-pumpin' rockers as "Rebel Yell," "White Wedding," and "Dancing With Myself," but it's happened now! "Bitter Taste" almost seems like it is for Billy Idol what Johnny Cash's cover of Nine Inch Nails' "Hurt" was for him. A bittersweet song reflecting on a long life of sex, drugs, and rock and roll finally taking its toll. At 65 years old, the rock star life has probably worn thin for Billy Idol. The song was produced by Butch Walker, a musician who probably considers Billy Idol to be one of his own "idols" that walks the line between punk, power pop, folk-rock, and jangle-pop.

"Quiet Town" by The Killers: It was only on their second album that The Killers' Brandon Flowers revealed his passionate love of Bruce Springsteen's music. It was considered a bit surprising at the time, but The Killers have done many musical homages to the Boss since then, one of which is their latest song, "Quiet Town." The title alone sounds somewhat Springsteen-ian, and so are the music and lyrics, which revolve around how tragedies like train accidents and drug overdoses get sadly overlooked by people in a "quiet town." But instead of simply lamenting this tragic state of affairs, Brandon Flowers and co take a sad subject and turn it into bittersweet musical poetry, set to the backdrop of earnest electric guitars and a churning synthesizer.

"Survivor" by Nathaniel Rateliff and The Night Sweats: Don't get me wrong. Nathaniel Rateliff's recent solo detours into country-rock haven't been bad, but they lack the energy and gutsiness that his music with The Night Sweats had. Thankfully, Night Sweats fans need not wait any longer for another one of Nathaniel's spirited, spicy takes on vintage soul music, 'cause here it is! "Survivor," as its title implies, was written last year in response to the coronavirus pandemic. "You think that I'm just some great survivor?" Nathaniel bellows forcefully and convincingly during the chorus. The whole song basically seems like it's trying to say that it's not easy to survive in today's world. The Nathaniel Rateliff solo tunes that were released last year all seemed very mournful, so I thought maybe he was going to continue in that direction. But nope...this time, the power of his inner turmoil has sprung up from under the surface and exploded into song! 

"Wildfire" by The Heavy Hours: Perhaps the only song this week that doesn't quite feel like something special, but I figured it was still worth reviewing. Like The Heavy Hours' previous adult alt radio hit, "Don't Walk Away," "Wildfire" is a simple folk-rock-y tune that doesn't really add anything too noticeable or innovative to the table, but it's still a sweet, breezy song. The title also has nothing to do with any actual fires (which it very well could have been about), and is really just a metaphor for love. A laid-back country/folk-rock tune for those who like that sorta thing. 

New songs for October 24th 2018

here they are:


"Gold" by Sister Sparrow and The Dirty Birds: This song is a bit more like an indie/soul hybrid than the blues-y neo-soul that Sister Sparrow and The Dirty Birds' fans might be used to, but it still has plenty of soul left inside of it! Lead singer Arleigh Kincheloe assures her fans during the chorus that her love is "gold, gold, gold". We believe it, Arleigh! The passion in your voice says it all! Something you fans of the band might not have known is that Arleigh had a son just last year. Nothing like releasing new life into the world to celebrate your musical joy, eh?!


"Hey Mama" by Nathaniel Rateliff and The Night Sweats: Nathaniel and his Night Sweats have been on fire this year! They have not one, but TWO, of the most played tracks on adult alt radio for 2018: the feisty "You Worry Me" and the sensual but gritty soul music of "A Little Honey". "Hey Mama" is not exactly a free spirited or soulful song, but there's a good reason for this. "Hey Mama" is not about a girl that Nathaniel is calling "Mama" simply because of his affections towards her, but about his actual mother. It's about the bond Nathaniel shares with her. The band released this song as a single, aptly, on Mother's Day, but it hasn't quite stormed adult alt radio until the past week or so. This song is a quiet but striking reminder that October isn't all about witches and goblins and ghosts. It's also part of the season of autumn, the most bittersweet season of the year!


"Hide" by Rainbow Kitten Surprise: So what do you do after your "Fever Pitch" has infectiously wound its way onto alt and adult alt stations everywhere?! Well...you "Hide"!! Unlike what the title of the song indicates, RKS aren't hiding anything from their fans! They bare all their emotions, in fact, with "Hide". Judging from both the drag queens in the video for the song (https://www.youtube.com/watch?v=aetcUc3ejPE), and from its ending lyrics, urging the subject of the song to "hide (their) love", it is probably about someone falling in love with someone who is transgender, but not wanting to admit it because of the way the singer's family feels about such people. Way to break off the barriers of judgment, RKS!! Here's hoping the world will be less judgmental thanks to you guys!!


"If It Feels Good (Then It Must Be)" by Leon Bridges: Leon Bridges has jumped all over the soul music spectrum for his latest album, and, like Nathaniel Rateliff, has so far had TWO of his songs become some of the most played songs on adult alt radio in 2018 ("Bad Bad News" and "Beyond"). "Bad Bad News" sounded like a vintage jazz-rock track, and "Beyond" was a lovely, poignant slice of the rarely heard folk-soul subgenre. For "If It Feels Good (Then It Must Be)", he blurs the lines between funk and disco (with some sweet guitar licks in the middle, I might add) to get his point across. As for the point of this song? Well, look no further than its title! If it feels good, then it must be, right?! Right!


"Just to Say I Love You" by Michael Franti: After a dry spell of folk and world music blending during the late 2000's and early 2010's, Michael Franti got back into the reggae-rock groove he originally became known for with "Once A Day" in 2015. The reggae rock trend continues with "Just to Say I Love You", albeit with a sweeter flavor this time around. I can't help but feel like the miracle of birth is a theme in this week's blog! "Gold" seemed like a declaration of Arleigh Kincheloe's feelings as a new mother, and "Hey Mama" reflected Nathaniel Rateliff's feelings for his own mother. "Just to Say I Love You" is a song Michael Franti has dedicated to his wife, who, like Arleigh, is a new mother this year. Love and unity are common themes in Franti's music, but they have never been as profound as this!!


"Northern Lights" by Death Cab for Cutie: This song is like a mix of R.E.M. and The Smiths, while not being near as good as either one. Because of its influences, though, as well as its use of guitar, I feel like I might like it better than I did "Gold Rush". Another similarity "Northern Lights" shares to both R.E.M. and The Smiths is how it has a small amount of verses while still managing to seem deep in its meaning. The song itself might be a "word salad" of sorts, but its chorus still manages to be captivating, even if it only contains the words, "Northern lights filled our skies/Empty nights synchronized".

New songs for April 4th 2018

here they are:


"A Little Honey" by Nathaniel Rateliff and The Night Sweats: A soulful, spirited song, as usual, from Nathaniel Rateliff and The Night Sweats, "A Little Honey" is more spicy than it is sweet. It has an interesting sound, as though The Band was attempting to cover Elton John's "Bennie and The Jets". As you can imagine, "A Little Honey" is a love song, but an energetic, impassioned one as only Nathaniel can deliver it. Nathaniel manages to pour more than just a little honey onto this song. Instead, he pours out all his heart and soul, and how!


"Alfie's Song (Not So Typical Love Song)" by Bleachers: What's it all about, Alfie? Well, here's what it's about. "Alfie's Song" is a song from the movie "Love, Simon" that encapsulates what it's like when a romance first blossoms in someone's life. If it's a song accompanying a movie where the character's name is Simon, then why did Jack Antonoff choose the name "Alfie"? Jack did so because "Alfie" is the name of his godson and he wanted to dedicate this song to him. Unlike what the title might lead you to believe, it's a pretty typical love song as far as its sound goes. It's a happy, optimistic song with pop music influenced instrumentation. Jack explains why it's a "not so typical love song" in the lyrics, since the romance he's singing about "hurt him again and again". Jack Antonoff believes in love, Alfie, although it's not a typical kind of love, apparently!


"Colors" by Beck: Is Beck a synesthete? Well, I don't know the answer to that question, but between the aptly colorful video for this song (https://www.youtube.com/watch?v=8I1B4n_8Cto) and its message, urging people to "feel the colors" (as opposed to just seeing them), I'm willing to bet he just might be one! "Sesame Street" nostalgics might even compare the wild, vibrant display of color (as well as the new wave-y music) to the "Wet Paint" video they had in the '80s! Watch and be amazed as a hand (Beck's, presumably) plays with colorful clay throughout the video of "Colors". Perhaps Beck should change his name to "Roy"...as in "Roy G. Biv", the acronym people use to teach the colors of the rainbow!


"Glory" by Dermot Kennedy: Dermot Kennedy is an Irish folk-rock musician, so naturally (being of Irish heritage myself), I wanted to know more about him upon finding this out! I have mixed feelings about this song, though, as it seems like Dermot doesn't know whether he wants to go for a bittersweet sound like Bon Iver or a more pop-y sound like Ed Sheeran. Dermot's debut single, "Glory", mixes moody acoustic guitars and impassioned vocals with pop music beats and production. Still, the way Dermot sings the title of the song is worth something, as he does so with a yearning passion that sticks in your head after you hear it!


"Into the Wild" by Phillip Phillips: The redundantly named 21st century folk-rocker continues to wow his audience with "Into the Wild", perhaps his most rocking song to date. This is the first Phillip Phillips song I can recall that really uses electric guitar the way it does, in a way that almost recalls the work of The Edge from U2. The song also uses interesting meter, in a similar manner to songs like Jethro Tull's "Thick As A Brick" (bet you weren't expecting THAT comparison, were you?!) As usual, Phillips' earnestness grips the listener from the moment the song is heard for the first time. The nature based imagery ("roll me like thunder", "I can be your landslide"), is also quite charming and adds to the appeal of this song.


"Over And Over And Over" by Jack White: Jack treated us to a blues and gospel influenced number earlier this year with "Connected By Love". "Over And Over And Over" is rock and roll, though, at its finest! Opening with a chunky riff that could easily be used in a Red Hot Chili Peppers song, Jack White plays a mean electric guitar pattern in E major that he, fittingly, uses over and over and over during this song! This is a song defined more by its musical power than it is by its lyrics. For people looking to resurrect the classic rock sound, look no further!


"Plastic Hamburgers" by Fantastic Negrito: "Fantastic Negrito" was not just some random indie band name that Xavier Amin Dphrepaulezz chose for his band. He is, in fact, black (he didn't choose the "Negrito" part just to sound cool), and Xavier himself IS "Fantastic Negrito". His breakthrough song, "Plastic Hamburgers", can easily be described as Led Zeppelin meets Funkadelic. Melding chunky, blues-rock guitar riffs with neo-psychedelic organ sounds, "Plastic Hamburgers" is about Xavier's identity as a black man, and how he fears it will impact the identities of his children, and this is the fire that fuels the musical grills of "Plastic Hamburgers". His aim in the song is to destroy the walls that separate different sections of the human race from one another and to come to terms with the reality that ethnic minorities are facing. Here's hoping the message of songs like this one create a brighter future for our species!

New songs for January 17th 2018

here they are:


"Connected By Love" by Jack White: The eerie synths that open the latest song from the famed White Stripes frontman don't exactly define this song. About 15 seconds into the song, those instruments get supplanted by Jack's soulful delivery, both vocally and instrumentally. The chorus almost seems gospel influenced, and it uses female backing vocals that wouldn't sound too out of place in an actual gospel song. The organ solo in the song further accentuates its spiritual fervor. I have said before that music is like a religion to me. "Connected By Love" makes me feel like I'm in a church listening to a choir and soaking in each note and the overall passionate message of the song!


"Dream" by Bishop Briggs: In the summer of 2016, Bishop Briggs (then known simply by her first name) won over the alt and adult alt charts with "River", a song that combined soulful, impassioned vocal delivery, folk-rock guitar instrumentation, electronica ambience, and stomp-and-holler rhythms into a neat little musical package. On "Dream", Bishop uses this same combination of elements and manages to win over her target audience once again! Perhaps the biggest attraction, though, for "Dream", is in its lyrics. Bishop bares her heart and soul with lyrics like, "I wanna wake up where your love is, 'cause your love is always waking mine", and "I wanna break down where your heart gets so torn it's breaking mine". Bishop could be speaking to a lover, a close friend, or a higher power, but it's up to the listener to decide which suits them the best, ultimately. Such is the beauty and impact of music!


"Feels Like Lightning" by Josh Ritter: From the clippety-clop rhythm in the opening, you know that folk-rocker Josh Ritter wants to make "Feels Like Lightning", well, feel like lightning! The song's unique, memorable rhythm feels like a horse trampling through a field at lightning speed. Though horses aren't mentioned anywhere in the lyrics, there is quite a bit of nature related imagery in the song nonetheless. Wind, cherry blossoms, bluebirds, and fields are among the many choice words Josh uses to evoke the mood of being surrounded by scenery that is at once vibrant and pastoral. So let your heart run free and stir up some excitement whenever you listen to this one!


"Taste" by Rhye: It's rare these days for an electronic song to be so poignant and emotionally bare, but this is what Rhye excels at. They seemed destined for one-hit-wonder status in spring 2013 with their intimate and aptly titled song, "Open", but "Taste" has proven me wrong. "Taste" has a bit more energy than "Open" did, but still manages to have a calming, ethereal atmosphere nonetheless. The words "I'll lick your wounds. I'll lay you down" are repeated during certain sections of the song, illustrating the song's intent of comfort and reassurance to the individual who happens to be listening to it. Just as they did with "Open", Rhye have once again managed to succeed at making music perfect for wanting to escape into a world full of billowy clouds!


"You Worry Me" by Nathaniel Rateliff and The Night Sweats: Nathaniel and his spunky, blues-y, R & B revival group don't worry ME, that's for sure! As with most of their material, this song makes me wanna get up and dance! Along with Jack White's latest song, "You Worry Me" is one of the most heavily anticipated new songs of the week, and it's not hard to see why! Though the song might not have the fiery, no-frills attitude of their breakthrough song, "S.O.B.", "You Worry Me" has still managed to win me over and remind me of why I like this group so much! Though the song is written in a minor key (a first for the group, as far as their better known songs are concerned), it still feels more like a major key song for its sheer exuberance and fervor. Well, what are ya waitin' for?! Let's boogie down!!

New songs for October 5th, 2016

here they are:


"Classic Masher" by The Pixies: "Classic" is right when it comes to describing the music of The Pixies! Bands like Nirvana, R.E.M., Radiohead, and even Weezer wouldn't exactly be where they are without 'em. Their last album wasn't actually released that long ago, but it didn't receive near as much attention as this one has. The Pixies' odd but endearing combo of arena rock sized hooks and garage rock distortion and attitude returns big time with their latest song, "Classic Masher". Like many Pixies songs, this one doesn't exactly have a clear narrative upon its first listen, but with a band as innovative and quirky as they are, what does it matter?! As The Smashing Pumpkins (yet another Pixies influenced group) once said in their song, "Cherub Rock", "Hipsters, unite!"


"Longer" by Lydia Loveless: Lydia is a musician who really puts the "rock" in country-rock! She is loved by alt-rock legends, The Replacements, and even met their bassist, and the opening to Lydia's latest song, "Longer", sounds a bit like the roots-y indie group, The Gaslight Anthem. Those awesomely cheesy guitar riffs that play in between each line also make this song well worth the listen, I think. "Longer" is as bittersweet as it is just plain bitter, as if Lydia can't decide whether to be "Loveless" (get it?) or love-lost!


"Mama Can't Help You" by Doyle Bramhall II: You may not know who Doyle Bramhall II is, but he has worked with rock legends like Eric Clapton and Pink Floyd's Roger Waters, and he also happens to be Renee Zellweger's current boyfriend. How's THAT for credibility?! Bramhall II is a smooth, slick combination of rock and soul that doesn't sound too far off from Eric Clapton and also bears similarity to other '60s and '70s blues-rock acts like Canned Heat, The Allman Brothers Band, and Little Feat. If this doesn't get your toes a-tappin', I dunno what will! This is the perfect song to satisfy both your groovy side and your rockin' side!


"33 God" by Bon Iver: This song is about as weird as its title sounds! I mean what does "33 God" even MEAN?! However, it is weird in a good way (kind of), I assure you! To give you an idea of how weird this song is, imagine if a Kate Bush song was being remixed by an electronica group led by Alvin and The Chipmunks. Ummm...yeah. I could do without the electronic remixing and those messed up chipmunk vocals, but the soft, delicate piano is definitely something I would both expect and welcome from Bon Iver. This is a good song, but I'd kinda like Justin Vernon and co to release a "piano-and-Justin-Vernon-vocals-only" version of this song. If they did, I'd gladly start playing that in regular rotation instead of this version. I guess good things come to those who wait, though.


"Washed Up Together" by Knox Hamilton: Knox Hamilton are proof that the "sophomore slump" is still goin' on. Their first song, "Work It Out", was kind of a pop-y song, but with plenty of juicy guitar riffs to please a guitarist like me. "Washed Up Together" has guitar hooks as well, but they don't sound near as distinct as the ones from "Work It Out" (and no unusual instruments like xylophones in the intro to "Washed Up Together" either). Perhaps it was KH's desire to win the approval of Katy Perry (which they did) for "Washed Up Together" that makes it sound...well...washed up! Oh well, at least they sound washed up TOGETHER! Besides, nothing wrong with liking catchy pop songs once in awhile, is there?!


"Wasting Time" by Nathaniel Rateliff and The Night Sweats: More sophomore slumps here, and with a band who has made just one ALBUM, at that! Nathaniel Rateliff and The Night Sweats have now had three singles in a row with a solid gold Memphis soul influenced sound (most notably the enjoyably rowdy "S.O.B.") Their not-yet-a-single, "Howlin' At Nothin'", is pretty solid retro-soul music as well. So why, then, is the fourth single from NRATNS the super-mellow, country influenced, "Wasting Time"? As a fifth single, it probably wouldn't have been a bad choice, but come on! Part of the reason I dig their music so much in the first place is for their relentlessly high energy that they have in their songs, of which "Wasting Time" has none. I'm not hating on this song, though. "Wasting Time" has a similar acoustic guitar riff to one of my fave folk/country-rock tunes, "The Weight" by The Band, and it's a good song to just chill to after a long, hard, busy day. "Wasting Time" is not a waste of time, but it is the weak little runt in a litter of otherwise rowdy piglets.


"We Don't Know" by The Strumbellas: We don't know if you'll like the latest song from folk-pop group, The Strumbellas. What we do know, though, is that if bands like The Lumineers and Of Monsters and Men are up your alley, that you'll probably like "We Don't Know". The same could probably be said if you happen to be a fan of groups like Imagine Dragons and Kaleo, which combine folk, rock, and electronica into one catchy, alt-pop-y package. Despite the uncertainty indicated in the song's title, "We Don't Know" is largely a song of hope, particularly during the part where they say, "If there's hope then we'll be okay." Pleasant, buoyant, optimistic folk-pop has been done many times before now, but it doesn't hurt to hear something like that again every now and then.

New songs for March 30th 2016

here they are:


"Brazil" by Declan McKenna: It only figures that a man with Elvis Costello's real first name would be at least a little stylistically similar to Elvis Costello in his early days, wouldn't it?! Then again, maybe it's just coincidence. Either way, Declan McKenna's "Brazil" has an infectiously catchy faux-retro British rock sound that is rapidly becoming a fave of alt-rock fans this year. With its bright, bouncy melody, fresh guitar sound, and raspy British vocals, it's not hard to see why! Also, Declan McKenna was born on Christmas Eve during the year I was in 5th grade!! Who knew such great music could come from a 17-year-old?! I sure didn't!!


"I Don't Care About You" by Lake Street Dive: With the way that Lake Street Dive's "Call Off Your Dogs" from fall of last year sounded like a '70s disco song, I was expecting more of the same with "I Don't Care About You". However, "I Don't Care About You" has a sound that's closer to the soul inflected blues-rock of the typical Lake Street Dive song. At least during the first two or so verses of the song, it does. However, during the last verse, it starts speeding up a bit to sound more like a song from the blues-rock side of the British Invasion (think early Rolling Stones, Animals, Yardbirds, etc.), which is fitting, considering how "I Don't Care About You" sounds like it could be the title of a '60s garage rock song. The message of this song may be "I don't care about you", but I do care about listening to groovy tunes like this one!


"I Need Never Get Old" by Nathaniel Rateliff and The Night Sweats: Nathaniel and co continue to wow the indie generation with their brand of '60s influenced R & B and rock with "I Need Never Get Old", currently their third big hit! Imagine what it would be like if Ray Charles, Janis Joplin, and The Four Tops started jamming together. Chances are, whatever you imagined probably sounds like "I Need Never Get Old". The song itself is as saucy and sassy as its titular statement! You need never get old listening to songs like this one. Stay young, my friends, stay young!!


"Pining" by Parker Millsap: Here is yet another song that sounds influenced by early R & B music, just like the previous two I've reviewed for this week. There is something that sets this one apart from most songs of this style, though. This song's central guitar is acoustic, not electric. Yet somehow, Parker Millsap still manages to inject some soulful vim and vigor into his first major breakthrough song, "Pining". What starts off as a happy folk song soon turns into a powerhouse of other instruments, such as piano and percussion, making it seem more like what a more energetic "oldie" might sound like to contemporary ears. Parker may be pining for his lost love, but he sure seems glad about something nonetheless!


"Where'd You Go?" by Boy and Bear: In fall 2015, Boy and Bear probably shocked many of their core fans by releasing the rocking, Cars-sounding "Walk the Wire", a significant departure from the folk-rock they had become known for previously. "Where'd You Go?" is a song that seems to have a folk-rock-y mood while still making prominent use of the electric guitar, particularly during the chorus. Somewhat mythical sounding imagery (i.e. "an ancient shrine that has swallowed your mind") seems to dominate the lyrical themes of this song, which is not entirely new for Boy and Bear.

New songs for November 18th 2015

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!

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!