here they are:
"Wish I Knew You" by The Revivalists: This is only the third song that The Revivalists have a had an adult alt radio hit with, yet they're already starting to make changes to their music! The Revivalists first two hits made me believe that they were a New Orleans R & B band. While they are from New Orleans, "Wish I Knew You" proves that R & B is not the only genre they like. It still has jazzy sax parts and a funky backbeat, but its guitar playing is decidedly folky in comparison to their other two hit songs. "Wish I knew you when I was young, we could have got so high", David Shaw soulfully croons during the chorus. Before any you of you go off assuming that this song is about drugs, it is probably more of a spiritually yearning sort of song about wanting to get to know someone before he/she passed away.
"Wristband" by Paul Simon: With alternative metal band Disturbed having had a surprise hit this year with a cover of Simon and Garfunkel's "The Sound of Silence", perhaps it only figures that Simon himself was also inclined to make a record this year, perhaps in part because of his song becoming a hit again after many decades (Simon said that he liked Disturbed's version of his song in a recent interview). "Wristband", though, is neither folk nor metal. Instead, it is a song that retains the rhythmically driven African roots sound that Paul Simon cultivated on his "Graceland" record. The lyrics of "Wristband" also have a similarly spiritual theme to what a lot of the "Graceland" songs had, revolving around a place where "if you don't have a wristband, you can't get through the door" (Heaven, perhaps?) With Simon's mention of St. Peter and the Pearly Gates during one of the verses of "Wristband", it seems pretty likely that he's referring to the celestial abode of the Man Upstairs.
"You And I" by Margaret Glaspy: A raspy voiced white girl leading Alabama Shakes? A young woman leading T. Rex? These descriptions would probably sound farfetched for any other song except for this one, the debut song from sassy, rockin' California native, Margaret Glaspy. If this song has anything to teach us, it's that looks can be deceiving! With her petite, demure appearance, you'd probably expect her to be a folksinger of some sort, but she isn't. Her lyrics are pretty sour as well, especially when she bluntly states that she "doesn't give a f**k". Elsewhere in the song, Glaspy basically cuts her ex-lover down in just two and a half minutes!
Showing posts with label Paul Simon. Show all posts
Showing posts with label Paul Simon. Show all posts
Wednesday, April 13, 2016
Wednesday, May 23, 2012
New songs for May 23rd, 2012
here they are:
"Everybody's Talkin'" by The Tedeschi-Trucks Band: Didn't think Miss Tedeschi was gonna cover Harry Nilsson, but apparently she has now!! This being The Tedeschi-Trucks Band, though, it doesn't have the winsome, folk-y sound of the Nilsson version, but rather, a raw, blues-y, earthy one that suggests a cross between Creedence Clearwater Revival and Wilson Pickett. Personally, I'm a sucker for the bittersweet vibe of the Nilsson version, but Tedeschi and Trucks do it justice nonetheless. For their first attempt (that I know of) for a cover song, The TTB deliver a performance that gives a shiny new direction for a beloved old favorite!
"Heartbeat" by Jjamz: Ummmm...how do you PRONOUNCE the name of this band?! The first two letters are two "J"s, of which there is no such word in the English language. A website I went on said the pronunciation was "Juh-JAMZ", as though the pronunciation requires intentional "stuttering" on the first letter. Now that I've gotten that out of the way, on with the song! According to the comments I've read about this song so far, it is apparently a favorite of pop sensation Katy Perry. Though I could ordinarily care less about what Katy Perry thinks, I can see why she likes this song. It has that sort of new-wave-y 1980's groove she likes to put in her songs from time to time. From the detached vibe of "Heartbeats", though, as well as the electric guitar solo in the middle of the song, I would say the song is more alt-pop than just plain old pop, which typically earns a song extra bonus points for me. The name of this band fits it well considering how danceable this song is.
"I'm Writing A Novel" by Father John Misty: No, despite how a moniker like "Father John Misty" might sound, you're not hearing a song from some old blues or country musician who suddenly decided to make a comeback. As a matter of fact, Father John Misty is actually the alias of Fleet Foxes' ex-drummer Josh Tillman. "I'm Writing A Novel" is one of the more interesting songs for this week, as far as I'm concerned. The lyrics seem rather stream-of-consciousness ("I'm not no doctor, but that monkey might be right", and "That Canadian shaman gave a little too much to me" provide a couple examples of how random the lyrics get for this song!), and the way Father John combines acoustic guitar with a catchy beat and organ sound that wouldn't sound too out of place in a Monkees song results in quite a memorable sound for this song! Fleet Foxes were known for having a sound that paid homage to the more somber sounding folk-rock bands of the '60s and early '70s, so it only makes sense that their drummer would do a song with a similar sound. As much as I love Fleet Foxes, though, I have to admit that "I'm Writing A Novel" is a far catchier song than anything Father John did with the band!
"Rosalee" by The Chris Robinson Brotherhood: In yet another example of a rock 'n' roll time warp, the lead singer of The Black Crowes sets the dials back to the mid-1970's, with a jam band anthem that heavily recalls "Franklin's Tower" by The Grateful Dead. Even the lyrics to the song (i.e. "Is the air getting thinner, are we getting high?") would seem rather fitting for a Grateful Dead song and/or concert. Like the typical Dead song, "Rosalee" is a mellow song with complex guitar work. Even as I pictured a "music video" to this song in my head, it was of Chris Robinson and his band performing in front of a crowd at Woodstock! Woodstock was a one-time-only event, though. Perhaps Coachella isn't too far off in The Chris Robinson Brotherhood's future, though. If blues-rocker Gary Clark, Jr. got to perform there earlier this year, I don't see why Chris Robinson couldn't be next in line!
"Some Nights" by fun.: Fans of fun. who are also followers of my blog might have noticed that I skipped out on their biggest hit so far, "We Are Young", when it came out. To me, "We Are Young" had too much pop and not enough alt! It sounded like the sort of song that might be featured in a cheesy '80s teen flick. Thankfully, fun.'s latest song, "Some Nights" has sought to correct this! One of fun.'s biggest influences is Queen, and the influence of Queen is illustrated quite well in "Some Nights". The opening vocal section sounds a little like the opening vocal sections of "Bohemian Rhapsody" and "Fat Bottomed Girls", among others, and the contrast between "Some Nights"' overall pop music sound and its crunchy hard-rock electric guitars also seem like typical Queen. "Some Nights" comes off like Queen trying to cover Simon and Garfunkel's "Cecilia" (especially during the chorus). The marching band drums of "Some Nights" also manage to make this song fun (just like the name of the band!)
"The Boxer" by Mumford and Sons (featuring Paul Simon and Jerry Douglas): Was waiting for quite awhile for Mumford and Sons to come out with a newbie, and I finally got my wish! Well, MORE than that, actually!! I also got the Celtic influenced folk-rock sensations covering a Simon and Garfunkel song, WITH Paul Simon backing them up! I always thought Mumford and Sons were a little like a modern-day Simon and Garfunkel, and I guess from this version of the folk-rock classic, my comparison wasn't too far off. This version has a bit more orchestration behind it than the original, and its played at one fret above that version, but other than that, it stays quite faithful to S & G's version. I'm quite impressed. Never thought a cover song would be my fave new release of any week, but for the first time, this appears to be so, and I couldn't be happier!!
"Everybody's Talkin'" by The Tedeschi-Trucks Band: Didn't think Miss Tedeschi was gonna cover Harry Nilsson, but apparently she has now!! This being The Tedeschi-Trucks Band, though, it doesn't have the winsome, folk-y sound of the Nilsson version, but rather, a raw, blues-y, earthy one that suggests a cross between Creedence Clearwater Revival and Wilson Pickett. Personally, I'm a sucker for the bittersweet vibe of the Nilsson version, but Tedeschi and Trucks do it justice nonetheless. For their first attempt (that I know of) for a cover song, The TTB deliver a performance that gives a shiny new direction for a beloved old favorite!
"Heartbeat" by Jjamz: Ummmm...how do you PRONOUNCE the name of this band?! The first two letters are two "J"s, of which there is no such word in the English language. A website I went on said the pronunciation was "Juh-JAMZ", as though the pronunciation requires intentional "stuttering" on the first letter. Now that I've gotten that out of the way, on with the song! According to the comments I've read about this song so far, it is apparently a favorite of pop sensation Katy Perry. Though I could ordinarily care less about what Katy Perry thinks, I can see why she likes this song. It has that sort of new-wave-y 1980's groove she likes to put in her songs from time to time. From the detached vibe of "Heartbeats", though, as well as the electric guitar solo in the middle of the song, I would say the song is more alt-pop than just plain old pop, which typically earns a song extra bonus points for me. The name of this band fits it well considering how danceable this song is.
"I'm Writing A Novel" by Father John Misty: No, despite how a moniker like "Father John Misty" might sound, you're not hearing a song from some old blues or country musician who suddenly decided to make a comeback. As a matter of fact, Father John Misty is actually the alias of Fleet Foxes' ex-drummer Josh Tillman. "I'm Writing A Novel" is one of the more interesting songs for this week, as far as I'm concerned. The lyrics seem rather stream-of-consciousness ("I'm not no doctor, but that monkey might be right", and "That Canadian shaman gave a little too much to me" provide a couple examples of how random the lyrics get for this song!), and the way Father John combines acoustic guitar with a catchy beat and organ sound that wouldn't sound too out of place in a Monkees song results in quite a memorable sound for this song! Fleet Foxes were known for having a sound that paid homage to the more somber sounding folk-rock bands of the '60s and early '70s, so it only makes sense that their drummer would do a song with a similar sound. As much as I love Fleet Foxes, though, I have to admit that "I'm Writing A Novel" is a far catchier song than anything Father John did with the band!
"Rosalee" by The Chris Robinson Brotherhood: In yet another example of a rock 'n' roll time warp, the lead singer of The Black Crowes sets the dials back to the mid-1970's, with a jam band anthem that heavily recalls "Franklin's Tower" by The Grateful Dead. Even the lyrics to the song (i.e. "Is the air getting thinner, are we getting high?") would seem rather fitting for a Grateful Dead song and/or concert. Like the typical Dead song, "Rosalee" is a mellow song with complex guitar work. Even as I pictured a "music video" to this song in my head, it was of Chris Robinson and his band performing in front of a crowd at Woodstock! Woodstock was a one-time-only event, though. Perhaps Coachella isn't too far off in The Chris Robinson Brotherhood's future, though. If blues-rocker Gary Clark, Jr. got to perform there earlier this year, I don't see why Chris Robinson couldn't be next in line!
"Some Nights" by fun.: Fans of fun. who are also followers of my blog might have noticed that I skipped out on their biggest hit so far, "We Are Young", when it came out. To me, "We Are Young" had too much pop and not enough alt! It sounded like the sort of song that might be featured in a cheesy '80s teen flick. Thankfully, fun.'s latest song, "Some Nights" has sought to correct this! One of fun.'s biggest influences is Queen, and the influence of Queen is illustrated quite well in "Some Nights". The opening vocal section sounds a little like the opening vocal sections of "Bohemian Rhapsody" and "Fat Bottomed Girls", among others, and the contrast between "Some Nights"' overall pop music sound and its crunchy hard-rock electric guitars also seem like typical Queen. "Some Nights" comes off like Queen trying to cover Simon and Garfunkel's "Cecilia" (especially during the chorus). The marching band drums of "Some Nights" also manage to make this song fun (just like the name of the band!)
"The Boxer" by Mumford and Sons (featuring Paul Simon and Jerry Douglas): Was waiting for quite awhile for Mumford and Sons to come out with a newbie, and I finally got my wish! Well, MORE than that, actually!! I also got the Celtic influenced folk-rock sensations covering a Simon and Garfunkel song, WITH Paul Simon backing them up! I always thought Mumford and Sons were a little like a modern-day Simon and Garfunkel, and I guess from this version of the folk-rock classic, my comparison wasn't too far off. This version has a bit more orchestration behind it than the original, and its played at one fret above that version, but other than that, it stays quite faithful to S & G's version. I'm quite impressed. Never thought a cover song would be my fave new release of any week, but for the first time, this appears to be so, and I couldn't be happier!!
Wednesday, October 26, 2011
New songs for October 26th, 2011
here they are:
"Monarchy of Roses" by Red Hot Chili Peppers: Like most of The Chili Peppers' material, the latest song from their most recent CD ("I'm With You") to get attention, "Monarchy of Roses" is quite catchy and danceable. The one factor that distinguishes "Monarchy of Roses" from the other tracks off of "I'm With You" is the fuzziness of the bass (and vocals) during the verses. The funk influence of RHCP's music (which shows up here in the chorus) shouldn't be that surprising considering it's long been an essential factor of their repertoire, but it tends to contrast here with the fuzzy, vaguely garage rock-ish sound used in most of this song. By the end of "Monarchy of Roses", a chord sequence pops up that doesn't seem to follow typical rock/pop chord progressions, perhaps to make it sound more creative, but the catchy, funky, (and fuzzy) parts of "Monarchy of Roses" are enough to make it memorable for me!
"Rewrite" by Paul Simon: Wow! I must say, Simon's latest CD, "So Beautiful Or So What" seems like it's ended up being his most successful one since, well, "Graceland" back in 1986! It has so far spawned not one, not two, or even three, but FOUR hit songs (including this one, and a Christmas song that got put on the CD after its initial release as a single during December 2010). "Rewrite" tends to deviate from the "Graceland" like sound of the other three songs that have gotten attention from "So Beautiful Or So What", but it still comes off as a pure, original Paul Simon song! It has a crisp, ripple-y feel to it and is done largely on acoustic guitar. Like the other songs from "So Beautiful Or So What", "Rewrite" also has clever lyrics! As its title suggests, "Rewrite" is about...well...a "rewrite", of a (perhaps metaphorical) book the character in the song has written. Can't exactly tell if "Rewrite" centers around a fictional person developed specifically for the song or Paul Simon himself, but either way, this song is brilliant!
"We All Go Back to Where We Belong" by R.E.M.: Surprise!!! Although the legendary Georgia alt-rock innovators recently announced they broke up, it turns out there was still a new song left over in their catalog! It also seems to be the most anticipated new song of this week! Both from a musical and lyrical standpoint, this seems to be the R.E.M. equivalent of some of the last Beatles songs recorded, like "Let It Be", "The Long And Winding Road", and "Across the Universe", as if this song was specifically written as a "goodbye song" from R.E.M. addressed to their fans. The Beatlesque guitar sound and Burt Bacharach influenced muted trumpets only seem to add to the already bittersweet vibes of "We All Go Back to Where We Belong". I barely know the lyrics to this song, but it already makes me feel sad (in a good way) just listening to it! "We All Go Back to Where We Belong" is such a fitting way to wrap up the almost 30 year long career of a band who started out introducing the "jangle-pop" sound of The Byrds to a whole new generation, and have continued to expand their musical horizons ever since!!
"Wonderful (The Way I Feel)" by My Morning Jacket: Thought that maybe the stomping yet somewhat improvisational sound of "Holdin' On to Black Metal" was an indicator that My Morning Jacket wanted their latest CD, "Circuital" to focus more on the "rock" side of the band. "Wonderful (The Way I Feel)" has proven that theory wrong, but in a VERY good way!! A finger-picked, acoustic guitar oriented ballad, "Wonderful (The Way I Feel)" sets the musical clocks all the way back to the '70s, reminding me of Crosby, Stills, and Nash's "Helplessly Hoping", Heart's "Dreamboat Annie", and Fleetwood Mac's "Landslide" among others. The title of this song pretty much describes the way I feel when listening to it, "wonderful"! Though the chorus indicates a feeling of joy, the rest of the song has more yearning lyrical emotional quality to it, as Jim James pines for a place where there "ain't no fear", "the spirit is near", and there "ain't no police", and there "ain't no disease". Songs like this already take me to such a place - my imagination, when I listen to this song!!
"You're Too Weird" by Fruit Bats: Back in 2009, Fruit Bats made their big breakthrough in the music world and garnered a little bit of attention with a bouncy folk-rock-ish song called "The Ruminant Band", which sounded a bit like what it might have been like if Roger Hodgson from Supertramp fronted The Kinks on one of their more melodic, chipper songs. The falsetto vocals of Fruit Bats' lead singer, Eric D. Johnson, continue to show up on their most recent song, "You're Too Weird" (though he doesn't sound quite so Roger Hodgson-ish this time around). "You're Too Weird", well, ISN'T "too weird" (well, ok, maybe a little, but not in a bad way). It is a bright, catchy song that sounds like the upbeat, melodic British sounding indie pop of The Kooks (despite the fact that Fruit Bats are actually from Chicago) mixed with the unusually high pitched vocals of disco inflected alt-poppers Scissor Sisters. "You're Too Weird"'s breezy, summery sound might not be that fit for the fall season (especially with Halloween lurking just around the corner), but songs like that are welcome any time in my collection!
"Monarchy of Roses" by Red Hot Chili Peppers: Like most of The Chili Peppers' material, the latest song from their most recent CD ("I'm With You") to get attention, "Monarchy of Roses" is quite catchy and danceable. The one factor that distinguishes "Monarchy of Roses" from the other tracks off of "I'm With You" is the fuzziness of the bass (and vocals) during the verses. The funk influence of RHCP's music (which shows up here in the chorus) shouldn't be that surprising considering it's long been an essential factor of their repertoire, but it tends to contrast here with the fuzzy, vaguely garage rock-ish sound used in most of this song. By the end of "Monarchy of Roses", a chord sequence pops up that doesn't seem to follow typical rock/pop chord progressions, perhaps to make it sound more creative, but the catchy, funky, (and fuzzy) parts of "Monarchy of Roses" are enough to make it memorable for me!
"Rewrite" by Paul Simon: Wow! I must say, Simon's latest CD, "So Beautiful Or So What" seems like it's ended up being his most successful one since, well, "Graceland" back in 1986! It has so far spawned not one, not two, or even three, but FOUR hit songs (including this one, and a Christmas song that got put on the CD after its initial release as a single during December 2010). "Rewrite" tends to deviate from the "Graceland" like sound of the other three songs that have gotten attention from "So Beautiful Or So What", but it still comes off as a pure, original Paul Simon song! It has a crisp, ripple-y feel to it and is done largely on acoustic guitar. Like the other songs from "So Beautiful Or So What", "Rewrite" also has clever lyrics! As its title suggests, "Rewrite" is about...well...a "rewrite", of a (perhaps metaphorical) book the character in the song has written. Can't exactly tell if "Rewrite" centers around a fictional person developed specifically for the song or Paul Simon himself, but either way, this song is brilliant!
"We All Go Back to Where We Belong" by R.E.M.: Surprise!!! Although the legendary Georgia alt-rock innovators recently announced they broke up, it turns out there was still a new song left over in their catalog! It also seems to be the most anticipated new song of this week! Both from a musical and lyrical standpoint, this seems to be the R.E.M. equivalent of some of the last Beatles songs recorded, like "Let It Be", "The Long And Winding Road", and "Across the Universe", as if this song was specifically written as a "goodbye song" from R.E.M. addressed to their fans. The Beatlesque guitar sound and Burt Bacharach influenced muted trumpets only seem to add to the already bittersweet vibes of "We All Go Back to Where We Belong". I barely know the lyrics to this song, but it already makes me feel sad (in a good way) just listening to it! "We All Go Back to Where We Belong" is such a fitting way to wrap up the almost 30 year long career of a band who started out introducing the "jangle-pop" sound of The Byrds to a whole new generation, and have continued to expand their musical horizons ever since!!
"Wonderful (The Way I Feel)" by My Morning Jacket: Thought that maybe the stomping yet somewhat improvisational sound of "Holdin' On to Black Metal" was an indicator that My Morning Jacket wanted their latest CD, "Circuital" to focus more on the "rock" side of the band. "Wonderful (The Way I Feel)" has proven that theory wrong, but in a VERY good way!! A finger-picked, acoustic guitar oriented ballad, "Wonderful (The Way I Feel)" sets the musical clocks all the way back to the '70s, reminding me of Crosby, Stills, and Nash's "Helplessly Hoping", Heart's "Dreamboat Annie", and Fleetwood Mac's "Landslide" among others. The title of this song pretty much describes the way I feel when listening to it, "wonderful"! Though the chorus indicates a feeling of joy, the rest of the song has more yearning lyrical emotional quality to it, as Jim James pines for a place where there "ain't no fear", "the spirit is near", and there "ain't no police", and there "ain't no disease". Songs like this already take me to such a place - my imagination, when I listen to this song!!
"You're Too Weird" by Fruit Bats: Back in 2009, Fruit Bats made their big breakthrough in the music world and garnered a little bit of attention with a bouncy folk-rock-ish song called "The Ruminant Band", which sounded a bit like what it might have been like if Roger Hodgson from Supertramp fronted The Kinks on one of their more melodic, chipper songs. The falsetto vocals of Fruit Bats' lead singer, Eric D. Johnson, continue to show up on their most recent song, "You're Too Weird" (though he doesn't sound quite so Roger Hodgson-ish this time around). "You're Too Weird", well, ISN'T "too weird" (well, ok, maybe a little, but not in a bad way). It is a bright, catchy song that sounds like the upbeat, melodic British sounding indie pop of The Kooks (despite the fact that Fruit Bats are actually from Chicago) mixed with the unusually high pitched vocals of disco inflected alt-poppers Scissor Sisters. "You're Too Weird"'s breezy, summery sound might not be that fit for the fall season (especially with Halloween lurking just around the corner), but songs like that are welcome any time in my collection!
Wednesday, June 15, 2011
New songs for June 15th, 2011
here they are:
"Got It All (This Can't Be Living Now)" by Portugal. The Man: Thought maybe this was from the same album as their Fall 2010 hit, "People Say", but apparently this is on an album that hasn't been released yet! Guess the soul-meets-alternative vibes of "People Say" were THAT popular!! In "Got It All...", Portugal. The Man continue with the same brand of feel-good indie music they started off with. The falsetto vocals in the chorus seem like a distinguishing, important feature of this song, as they are not only part of what makes this song so fun for me to listen to, but also what could set it apart from being mistaken for a Modest Mouse or Vampire Weekend song.
"Me And Lazarus" by Iron & Wine: The "neo-psychedelic" vibes of this song seem to pick up where the more mellow, folk-y vibes of their previous hit (and their biggest, so far), "Tree By the River" left off. It has factors that most IAW songs don't have. For instance, a sax solo in the middle of the song that seems to be inspired by some of the songs that '60s rock band Traffic often put into their music, as well as some electronic sounding instruments that sound like they'd be more at home on a video game than a song. The rubbery distortion of the electric guitar on this song does a great job of setting "Me And Lazarus" apart from other IAW songs (which, for the most part, lack electric guitars and rely more on acoustic guitars). If you long for the days of psych-rock masterpieces like The Beatles' "Tomorrow Never Knows" and Traffic's "Paper Sun", then please give "Me And Lazarus" a nice, solid listen!
"Perfume" by Old '97s: On this track, Rhett Miller and co take a breather from the fast, driving rock 'n' roll sound of their previous hit, "Every Night Is Friday Night (Without You)". "Perfume" sounds more like the typical '97s song, with its somewhat country-fied indie sound. The chord progression in this song seems to have become rather cliche now in rock music (the same type of progression gets used on The Beatles' "Let It Be" and Oasis' "Don't Look Back In Anger"), but the rhythm of the song is one that doesn't get used very often in the genre, and I also really like the subtle, tinkly piano sound sprinkled within the chorus of the song.
"So Beautiful Or So What" by Paul Simon: The lyrical content of this song seems rather abstract upon first listen, but such is the beauty of this song! It seems to be a bunch of "slice of life" stories rolled into a single song. As for the music? Well, I think that's what drives this song more than anything! It's very rhythmic, with its staccato beat pulsating through the drums and guitar throughout the song, so it's very easy to get stuck in your head. Having heard this song and his other big song of 2011, "The Afterlife", I'd say Paul Simon's latest album could very well qualify as being called a "sequel" to his 1986 magnum opus, "Graceland".
"Got It All (This Can't Be Living Now)" by Portugal. The Man: Thought maybe this was from the same album as their Fall 2010 hit, "People Say", but apparently this is on an album that hasn't been released yet! Guess the soul-meets-alternative vibes of "People Say" were THAT popular!! In "Got It All...", Portugal. The Man continue with the same brand of feel-good indie music they started off with. The falsetto vocals in the chorus seem like a distinguishing, important feature of this song, as they are not only part of what makes this song so fun for me to listen to, but also what could set it apart from being mistaken for a Modest Mouse or Vampire Weekend song.
"Me And Lazarus" by Iron & Wine: The "neo-psychedelic" vibes of this song seem to pick up where the more mellow, folk-y vibes of their previous hit (and their biggest, so far), "Tree By the River" left off. It has factors that most IAW songs don't have. For instance, a sax solo in the middle of the song that seems to be inspired by some of the songs that '60s rock band Traffic often put into their music, as well as some electronic sounding instruments that sound like they'd be more at home on a video game than a song. The rubbery distortion of the electric guitar on this song does a great job of setting "Me And Lazarus" apart from other IAW songs (which, for the most part, lack electric guitars and rely more on acoustic guitars). If you long for the days of psych-rock masterpieces like The Beatles' "Tomorrow Never Knows" and Traffic's "Paper Sun", then please give "Me And Lazarus" a nice, solid listen!
"Perfume" by Old '97s: On this track, Rhett Miller and co take a breather from the fast, driving rock 'n' roll sound of their previous hit, "Every Night Is Friday Night (Without You)". "Perfume" sounds more like the typical '97s song, with its somewhat country-fied indie sound. The chord progression in this song seems to have become rather cliche now in rock music (the same type of progression gets used on The Beatles' "Let It Be" and Oasis' "Don't Look Back In Anger"), but the rhythm of the song is one that doesn't get used very often in the genre, and I also really like the subtle, tinkly piano sound sprinkled within the chorus of the song.
"So Beautiful Or So What" by Paul Simon: The lyrical content of this song seems rather abstract upon first listen, but such is the beauty of this song! It seems to be a bunch of "slice of life" stories rolled into a single song. As for the music? Well, I think that's what drives this song more than anything! It's very rhythmic, with its staccato beat pulsating through the drums and guitar throughout the song, so it's very easy to get stuck in your head. Having heard this song and his other big song of 2011, "The Afterlife", I'd say Paul Simon's latest album could very well qualify as being called a "sequel" to his 1986 magnum opus, "Graceland".
Wednesday, February 16, 2011
new songs for Feb. 16th, 2011
Here they are:
"100 Other Lovers" by DeVotchKa: DeVotchKa are an indie group perhaps best known for doing the opening song in the smash indie flick (and one of my personal fave movies of all time), "Little Miss Sunshine". The song was called "How It Ends", and it was a very poignant piece of work dominated by plaintive, melancholy vocals, gentle keyboards, and sighing violins. Five years later, DeVotchKa have still got it in them, but it lacks the emotional power of "How It Ends", perhaps mainly because, well, "100 Other Lovers" is more of a happy, bouncy tune without any emphasized minor chords. This is not to criticize "100 Other Lovers, as it is still a fine tune, and the orchestration is remarkably similar to "How It Ends", with its keyboards, violins, and vocals. However, in "100 Other Lovers", the keyboards have more of a tinkly sound, the violins sound more excited and energetic, and the vocals sound calmer. Overall, though, this song has a very relaxing, looking-out-the-window-on-a-Sunday-morning sort of vibe, so I still like it.
"Our Hearts Are Wrong" by Jessica Lea Mayfield: People who are familiar with Aimee Mann's charmingly quirky, folk-pop-y, solo career material will probably like what is becoming newcomer Jessica Lea Mayfield's first "hit", "Our Hearts Are Wrong". Despite the pessimistic sounding title of this song, it is actually a rather upbeat sort of tune with rather unique instrumentation, complete with a "We Will Rock You" type beat (only a bit more of a "softened" version if you know what I mean). "Our Hearts Are Wrong" centers largely around the percussion and acoustic guitar, though there are occasionally other instruments the song uses that set it apart from that of your average indie-pop/folk-pop female musician. There are occasional bursts of a somewhat "indie-fied" Creedence Clearwater Revival-ish electric guitar sound in some of the parts in between the song, and the sunshiny, bright and cheerful sound of the organ towards the middle might just be the best part of the entire song!
"The Afterlife" by Paul Simon: One of the most amazing things about songs from Paul Simon's solo career is that many of them, especially those he did in the '70s and '80s, incorporate a musical gumbo of many different styles. Sure, he might have started out with folk-pop numbers like "Kodachrome" and "Me And Julio Down By the Schoolyard", but not long afterward he expanded his musical terrain into reggae ("Mother And Child Reunion"), Latin jazz ("Late In the Evening"), and African influenced material (the entire "Graceland" album, as well as "The Rhythm of the Saints, the album that followed immediately after). Simon actually released a couple records in the '00s, but most of them lacked (or tried too hard to emulate) the World music vibes he went for in most of his solo career material. Thankfully, Simon's latest, "The Afterlife", has sought to correct all that! The World music influence has returned in "The Afterlife", and there's even the advantage of the lyrical cleverness Simon uses in the lyrics for those who are under the impression he is still merely trying hard to emulate his "Graceland"/"Rhythm of the Saints" period in his career. As one might expect in a song titled "The Afterlife", many of the lyrics deal with religion and philosophy. I especially admire the rhyme scheme in some of the lyrics ("I was finding it odd there was no sign of God", "Buddha and Moses and all of the noses", etc.), and I think that is what really makes this song worth listening to in my opinion!
"100 Other Lovers" by DeVotchKa: DeVotchKa are an indie group perhaps best known for doing the opening song in the smash indie flick (and one of my personal fave movies of all time), "Little Miss Sunshine". The song was called "How It Ends", and it was a very poignant piece of work dominated by plaintive, melancholy vocals, gentle keyboards, and sighing violins. Five years later, DeVotchKa have still got it in them, but it lacks the emotional power of "How It Ends", perhaps mainly because, well, "100 Other Lovers" is more of a happy, bouncy tune without any emphasized minor chords. This is not to criticize "100 Other Lovers, as it is still a fine tune, and the orchestration is remarkably similar to "How It Ends", with its keyboards, violins, and vocals. However, in "100 Other Lovers", the keyboards have more of a tinkly sound, the violins sound more excited and energetic, and the vocals sound calmer. Overall, though, this song has a very relaxing, looking-out-the-window-on-a-Sunday-morning sort of vibe, so I still like it.
"Our Hearts Are Wrong" by Jessica Lea Mayfield: People who are familiar with Aimee Mann's charmingly quirky, folk-pop-y, solo career material will probably like what is becoming newcomer Jessica Lea Mayfield's first "hit", "Our Hearts Are Wrong". Despite the pessimistic sounding title of this song, it is actually a rather upbeat sort of tune with rather unique instrumentation, complete with a "We Will Rock You" type beat (only a bit more of a "softened" version if you know what I mean). "Our Hearts Are Wrong" centers largely around the percussion and acoustic guitar, though there are occasionally other instruments the song uses that set it apart from that of your average indie-pop/folk-pop female musician. There are occasional bursts of a somewhat "indie-fied" Creedence Clearwater Revival-ish electric guitar sound in some of the parts in between the song, and the sunshiny, bright and cheerful sound of the organ towards the middle might just be the best part of the entire song!
"The Afterlife" by Paul Simon: One of the most amazing things about songs from Paul Simon's solo career is that many of them, especially those he did in the '70s and '80s, incorporate a musical gumbo of many different styles. Sure, he might have started out with folk-pop numbers like "Kodachrome" and "Me And Julio Down By the Schoolyard", but not long afterward he expanded his musical terrain into reggae ("Mother And Child Reunion"), Latin jazz ("Late In the Evening"), and African influenced material (the entire "Graceland" album, as well as "The Rhythm of the Saints, the album that followed immediately after). Simon actually released a couple records in the '00s, but most of them lacked (or tried too hard to emulate) the World music vibes he went for in most of his solo career material. Thankfully, Simon's latest, "The Afterlife", has sought to correct all that! The World music influence has returned in "The Afterlife", and there's even the advantage of the lyrical cleverness Simon uses in the lyrics for those who are under the impression he is still merely trying hard to emulate his "Graceland"/"Rhythm of the Saints" period in his career. As one might expect in a song titled "The Afterlife", many of the lyrics deal with religion and philosophy. I especially admire the rhyme scheme in some of the lyrics ("I was finding it odd there was no sign of God", "Buddha and Moses and all of the noses", etc.), and I think that is what really makes this song worth listening to in my opinion!
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