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!
Showing posts with label Phillip Phillips. Show all posts
Showing posts with label Phillip Phillips. Show all posts
Wednesday, April 4, 2018
Wednesday, August 30, 2017
New songs for August 30th 2017
here they are:
"Dear Life" by Beck: You never what to expect with Beck. Folk one minute, funk the next, and everything between as well! His latest song, "Dear Life" is yet another "something completely different" moment from the musician I often liken to being a '90s-and-onward version of David Bowie. "Dear Life" actually does have some Bowie-esque vibes to it, not to mention little swirls of The Beatles and Queen here and there as well. It starts with a catchy piano hook that sounds not unlike one that John, Paul, George, and Ringo might have done together, and a Beatlesque guitar creeps in midway through the song. The astounding alt-rocker has done it again!
"Miles" by Phillip Phillips: With three albums now under his belt, Phillip Phillips has proven himself to be so much more than your run-of-the-mill "American Idol" contestant. Instead of opting for the pop spotlight, as most of them have, the redundantly named folk-rocker has gone a bit more under the radar since the days of his first hit songs, but rest assured, Phillip is the type who values quality over quantity! His latest song, "Miles", would not be out of place as a song in the Snow Patrol or early Coldplay catalog. It is both heartfelt and anthemic, as most of his songs tend to be. "Miles" is also his first song since his legal battle against "Idol"s record company, and the lyrics of the song seem to reflect this. This is evident right from the song's opening lyrics, "Right now I need an escape from this gravity that holds me down. We gotta leave here today 'cause insanity is all around."
"The May Queen" by Robert Plant: The title of this song is probably taken from the line in Plant's "Stairway to Heaven" that goes, "If there's a bustle in your hedgerow, don't be alarmed now. It's just a spring clean for the May Queen." For over 40 years, Led Zeppelin fans have probably wondered who the "May Queen" is. Well, we're about to find out! Or then again, maybe not, since the title of "The May Queen" is not actually mentioned in its lyrics. Instead, the lyrics appear to simultaneously suggest both a love song and a spiritual, yogic chant of sorts. Perhaps that means that the titular queen is a goddess of some sort? She might just be the lady who's sure all that glitters is gold in the beginning of "Stairway". The world may never know!
"Dear Life" by Beck: You never what to expect with Beck. Folk one minute, funk the next, and everything between as well! His latest song, "Dear Life" is yet another "something completely different" moment from the musician I often liken to being a '90s-and-onward version of David Bowie. "Dear Life" actually does have some Bowie-esque vibes to it, not to mention little swirls of The Beatles and Queen here and there as well. It starts with a catchy piano hook that sounds not unlike one that John, Paul, George, and Ringo might have done together, and a Beatlesque guitar creeps in midway through the song. The astounding alt-rocker has done it again!
"Miles" by Phillip Phillips: With three albums now under his belt, Phillip Phillips has proven himself to be so much more than your run-of-the-mill "American Idol" contestant. Instead of opting for the pop spotlight, as most of them have, the redundantly named folk-rocker has gone a bit more under the radar since the days of his first hit songs, but rest assured, Phillip is the type who values quality over quantity! His latest song, "Miles", would not be out of place as a song in the Snow Patrol or early Coldplay catalog. It is both heartfelt and anthemic, as most of his songs tend to be. "Miles" is also his first song since his legal battle against "Idol"s record company, and the lyrics of the song seem to reflect this. This is evident right from the song's opening lyrics, "Right now I need an escape from this gravity that holds me down. We gotta leave here today 'cause insanity is all around."
"The May Queen" by Robert Plant: The title of this song is probably taken from the line in Plant's "Stairway to Heaven" that goes, "If there's a bustle in your hedgerow, don't be alarmed now. It's just a spring clean for the May Queen." For over 40 years, Led Zeppelin fans have probably wondered who the "May Queen" is. Well, we're about to find out! Or then again, maybe not, since the title of "The May Queen" is not actually mentioned in its lyrics. Instead, the lyrics appear to simultaneously suggest both a love song and a spiritual, yogic chant of sorts. Perhaps that means that the titular queen is a goddess of some sort? She might just be the lady who's sure all that glitters is gold in the beginning of "Stairway". The world may never know!
Wednesday, October 22, 2014
New songs for October 22nd, 2014
here they are:
"Unpack Your Heart" by Phillip Phillips: We've all heard of the term "arena rock", but so far, only Phillip Phillips has pulled off "arena folk" - lilting, acoustic guitar playing, accompanied by lively drums and string sections. Phillips tends to have songs that are either deep in thought or uplifting, and "Unpack Your Heart" definitely falls into the latter category in terms of how it sounds. Phillips' repeated urging his listeners to "bring their secrets" and "unpack their hearts" sounds rather deep in thought without the musical accompaniment, but with all the vivacious instrumentation in the background, perhaps the best way to describe "Unpack Your Heart" is "sincere".
"You + Me" by You and Me: Wow. I don't think anyone has seen a musical redundancy of music like this since Bad Company's song, "Bad Company" (which was also from the ALBUM "Bad Company"). You and Me (the band, that is, not the song) is a duo consisting of pop sensation, P!nk (whose name I can't pronounce anymore since she just had to put that stupid exclamation point in the middle of it!), and Dallas Green from indie-pop one man band, City and Colour. The somber folk-rock sound of the song is typical of Dallas, but not of Pink (oh, ex-CUSE me, I meant "P!nk"). Then again, P!nk has tried hard to drift away from the pure pop sound she became known for for awhile now, having lent her voice to songs by Butch Walker ("Here Comes the Heartache") and even The Indigo Girls ("Dear Mr. President"). "You and Me" is by far her most poignant song. It's nothing new for Dallas Green, as I mentioned before, but lately Dallas has drifted away from folk and more towards rock, so it's nice to hear him come back to his roots on this song.
"Unpack Your Heart" by Phillip Phillips: We've all heard of the term "arena rock", but so far, only Phillip Phillips has pulled off "arena folk" - lilting, acoustic guitar playing, accompanied by lively drums and string sections. Phillips tends to have songs that are either deep in thought or uplifting, and "Unpack Your Heart" definitely falls into the latter category in terms of how it sounds. Phillips' repeated urging his listeners to "bring their secrets" and "unpack their hearts" sounds rather deep in thought without the musical accompaniment, but with all the vivacious instrumentation in the background, perhaps the best way to describe "Unpack Your Heart" is "sincere".
"You + Me" by You and Me: Wow. I don't think anyone has seen a musical redundancy of music like this since Bad Company's song, "Bad Company" (which was also from the ALBUM "Bad Company"). You and Me (the band, that is, not the song) is a duo consisting of pop sensation, P!nk (whose name I can't pronounce anymore since she just had to put that stupid exclamation point in the middle of it!), and Dallas Green from indie-pop one man band, City and Colour. The somber folk-rock sound of the song is typical of Dallas, but not of Pink (oh, ex-CUSE me, I meant "P!nk"). Then again, P!nk has tried hard to drift away from the pure pop sound she became known for for awhile now, having lent her voice to songs by Butch Walker ("Here Comes the Heartache") and even The Indigo Girls ("Dear Mr. President"). "You and Me" is by far her most poignant song. It's nothing new for Dallas Green, as I mentioned before, but lately Dallas has drifted away from folk and more towards rock, so it's nice to hear him come back to his roots on this song.
Wednesday, March 26, 2014
New songs for March 26th, 2014
here they are:
"Fever" by The Black Keys: With the popularity of each song they've had a hit with in the 2010's, it's no wonder The Black Keys' latest song, "Fever", is the most anticipated new song of the week!! However, it's a bit, well, different than most of their material. There is a bit more focus on the synthesizer in this song, yet it still keeps up with the sound of the Keys' trademark blues-rock sound, almost as if Devo was trying to cover a Led Zeppelin song! That being said, there really isn't that much "fever" in "Fever", but it's still worth checking out!
"Hundreds of Ways" by Conor Oberst: Anyone ever notice how Conor Oberst's solo material has more of an upbeat, country-rock feel than his material with Bright Eyes?! Well, I have, and his latest solo song, "Hundreds of Ways", is no exception. In fact, I would say that it's the Bright Eyes frontman's most optimistic sounding song to date! The bright, brassy sound in the chorus is atypical for Conor, but it adds more pep to the already peppy vibe of this song. Conor is still as contrary as ever, though, insisting repeatedly that there are "hundreds of ways to get through the day", while also hoping that he's "forgotten when (he) dies".
"Milwaukee" by The Both: Aimee Mann and Ted Leo. She's a little bit folk-pop. He's a little bit rock 'n' roll. So what do crafty pop chanteuse, Aimee Mann, and indie-punk-rocker Ted Leo, as a duo known as "The Both", sound like together?! Well, indie rock, basically, but with an emphasis on the "rock" part (the song definitely seems like more of a Ted Leo song than an Aimee Mann one). The guitar distortion suggests indie rock legends, Pavement, yet the melody is more characteristic of classic rock, particularly the beat and key of Steely Dan's "Reelin' In the Years" mixed with the melody of Tommy Tutone's "867-5309/Jenny". Though Aimee Mann's role in "Milwaukee" is a bit understated, it's definitely there. Her voice is present during the first verse of the song, as well as the chorus, but in the latter, it mainly serves as a way to harmonize with Ted's vocals. The song is about when the two of them first toured together and encountered a statue of Henry Winkler's iconic TV character, "The Fonz", while walking around in the titular Wisconsin town.
"Morning Song" by The Avett Brothers: With a sound that seems halfway between James Taylor and Gillian Welch, "Morning Song" is one of The Avett Brothers' finest moments of melancholia, both lyrically and instrumentally. Its sound hearkens back to The Avetts' earlier material, with its stark instrumentation, consisting of many string instruments (acoustic guitar, banjo, and cello), but no percussion or bass. Scott Avett's yearning, keening vocals, lamenting about how it "hurts so bad", "nothing's really helping", and how he'll "have to sing that melody alone" really makes this one a major tearjerker! As if its lonesome sound wasn't enough to make you cry. Excuse me while I go grab my nearest handkerchief!!
"Raging Fire" by Phillip Phillips: Just the title of Phillip Phillips' latest song, "Raging Fire", makes it sound intense! It is a folk-pop/rock song, like most of his material, but there is something in "Raging Fire" that DOES make it more intense than his other songs, and that is a combination of the unbridled passion he puts into this song, and the equally passionate string orchestra he uses for its chorus! The "raging fire" in the title refers to an emotional "fire" of sorts, like a "burning" desire within the soul. Perhaps the coolest part about this song is the ending, which is a "cliffhanger", in that it leaves the song hanging on the second to the last part of the D major chord in its chorus, instead of resolving to the G major chord that dominates the song.
"Wait For Me" by Kings of Leon: In the late 2000's, Kings of Leon unintentionally became modern day arena rock giants, and they have used that sound to their advantage ever since. Nowhere does the power of their arena rock styled sound shine more brightly than on "Wait For Me", though, a song that sounds a little like John Mellencamp attempting to perform a Police song. The rather foreboding opening notes give way to a bittersweet ballad, in which KOL reassure the subject of the song that "it's all better now", in spite of the romantic troubles they might be going through. These guys sure have come a long way from being the garage rock group who sang "Molly's Chambers"!!
"Fever" by The Black Keys: With the popularity of each song they've had a hit with in the 2010's, it's no wonder The Black Keys' latest song, "Fever", is the most anticipated new song of the week!! However, it's a bit, well, different than most of their material. There is a bit more focus on the synthesizer in this song, yet it still keeps up with the sound of the Keys' trademark blues-rock sound, almost as if Devo was trying to cover a Led Zeppelin song! That being said, there really isn't that much "fever" in "Fever", but it's still worth checking out!
"Hundreds of Ways" by Conor Oberst: Anyone ever notice how Conor Oberst's solo material has more of an upbeat, country-rock feel than his material with Bright Eyes?! Well, I have, and his latest solo song, "Hundreds of Ways", is no exception. In fact, I would say that it's the Bright Eyes frontman's most optimistic sounding song to date! The bright, brassy sound in the chorus is atypical for Conor, but it adds more pep to the already peppy vibe of this song. Conor is still as contrary as ever, though, insisting repeatedly that there are "hundreds of ways to get through the day", while also hoping that he's "forgotten when (he) dies".
"Milwaukee" by The Both: Aimee Mann and Ted Leo. She's a little bit folk-pop. He's a little bit rock 'n' roll. So what do crafty pop chanteuse, Aimee Mann, and indie-punk-rocker Ted Leo, as a duo known as "The Both", sound like together?! Well, indie rock, basically, but with an emphasis on the "rock" part (the song definitely seems like more of a Ted Leo song than an Aimee Mann one). The guitar distortion suggests indie rock legends, Pavement, yet the melody is more characteristic of classic rock, particularly the beat and key of Steely Dan's "Reelin' In the Years" mixed with the melody of Tommy Tutone's "867-5309/Jenny". Though Aimee Mann's role in "Milwaukee" is a bit understated, it's definitely there. Her voice is present during the first verse of the song, as well as the chorus, but in the latter, it mainly serves as a way to harmonize with Ted's vocals. The song is about when the two of them first toured together and encountered a statue of Henry Winkler's iconic TV character, "The Fonz", while walking around in the titular Wisconsin town.
"Morning Song" by The Avett Brothers: With a sound that seems halfway between James Taylor and Gillian Welch, "Morning Song" is one of The Avett Brothers' finest moments of melancholia, both lyrically and instrumentally. Its sound hearkens back to The Avetts' earlier material, with its stark instrumentation, consisting of many string instruments (acoustic guitar, banjo, and cello), but no percussion or bass. Scott Avett's yearning, keening vocals, lamenting about how it "hurts so bad", "nothing's really helping", and how he'll "have to sing that melody alone" really makes this one a major tearjerker! As if its lonesome sound wasn't enough to make you cry. Excuse me while I go grab my nearest handkerchief!!
"Raging Fire" by Phillip Phillips: Just the title of Phillip Phillips' latest song, "Raging Fire", makes it sound intense! It is a folk-pop/rock song, like most of his material, but there is something in "Raging Fire" that DOES make it more intense than his other songs, and that is a combination of the unbridled passion he puts into this song, and the equally passionate string orchestra he uses for its chorus! The "raging fire" in the title refers to an emotional "fire" of sorts, like a "burning" desire within the soul. Perhaps the coolest part about this song is the ending, which is a "cliffhanger", in that it leaves the song hanging on the second to the last part of the D major chord in its chorus, instead of resolving to the G major chord that dominates the song.
"Wait For Me" by Kings of Leon: In the late 2000's, Kings of Leon unintentionally became modern day arena rock giants, and they have used that sound to their advantage ever since. Nowhere does the power of their arena rock styled sound shine more brightly than on "Wait For Me", though, a song that sounds a little like John Mellencamp attempting to perform a Police song. The rather foreboding opening notes give way to a bittersweet ballad, in which KOL reassure the subject of the song that "it's all better now", in spite of the romantic troubles they might be going through. These guys sure have come a long way from being the garage rock group who sang "Molly's Chambers"!!
Wednesday, July 31, 2013
New songs for July 31st, 2013
here they are:
"Better Man" by Beth Hart: Not to be confused with the Pearl Jam song of the same name, Beth Hart's "Better Man" continues in the blues-y direction that Beth has been more actively pursuing in the 2010's. Beneath its pop-y beat and uptempo piano sound beat the heart of "Better Man", which can be defined by Beth's gutsy, passionate vocals, and its electric guitar based sound that blends country, rock, and blues into one spicy, catchy musical gumbo! A sizzling ode to whoever Beth's current lover happens to be, "Better Man" is great at capturing the jubilation anyone feels when they finally find the one they want to spend the rest of their life with!
"The Dream's In the Ditch" by Deer Tick: Deer Tick are one of the more roots-y indie bands whose sound owes more to Bob Dylan and Neil Young than it does The Velvet Underground and The Beatles. As far as I can tell, though, between their 2011 song, "Main Street", and their most recent song, "The Dream's In the Ditch", one of Deer Tick's biggest influences is none other than The Boss himself, Bruce Springsteen! "The Dream's In the Ditch" evokes early Springsteen, in particular, with its vaguely "Thunder Road"-ish chimes and guitars (though that colorful, tinkling piano solo in the middle is purely Deer Tick's own!) The subject matter of "The Dream's In the Ditch" is not uncommon to the roots-y side of classic rock either. It's basically a song about the ups and downs of touring on the road, not unlike Jackson Browne's "Running On Empty", or The Grateful Dead's "Truckin'". Happy trails!!
"Thirst" by City and Colour: It seems as though Canada's one man indie band, Dallas Green (or "City and Colour"), tired of the neo-folk-rock schtick about a year before it became big on alt-rock stations. He started with the folks-y "Sleeping Sickness", and has gone for a fuzzier, more rock based sound ever since (with the exception of the largely acoustic, "The Grand Optimist"). Dallas' latest song, "Thirst", continues in the more contemporary rock 'n' roll direction that he seems to want to become more known for. "Thirst" has what could be called a "White Stripes lite" distortion in its guitar sound, while the beat of the song is closer to Gary Numan's proto-synth-pop classic, "Cars". The lyrics in "Thirst" would not seem out of place for Dallas' former band, the hardcore "screamo" group, Alexisonfire (Alex is on fire), with its mentions of "fates worse than death", "an ocean of anger", and being "gracefully cursed".
"Walk Us Uptown" by Elvis Costello, featuring The Roots: For a musician, "The Three R's" are probably rock, rhythm, and rap, and this song just happens to have all three!! And you thought that the coolest connects between rock and rap ended with The Beastie Boys, and Run-D.M.C. and Aerosmith's collaboration of "Walk This Way"?! Well, think again!! Rocker Elvis Costello and hip-hop group, The Roots (both of whom are quite eclectic for their respective genres), have now come together in an unlikely, but quite catchy musical teaming, in "Walk Us Uptown". The song marks a high point for both musicians, with its sleek, street-smart vibe, and its seemingly effortless combining of jazzy horns, reggae influenced rhythm guitars, the occasional use of shattering, blues influenced lead guitars, and its smooth hip-hop beat. Is it just me, or has Elvis Costello gotten hipper as he's gotten older?!
"Where We Came From" by Phillip Phillips: "American Idol"'s number one musical oddity is now up for a THIRD hit song on adult alt radio stations. If it were any other contestant on the show, I probably wouldn't care, but this is Phillip Phillips we're talking about here, who has clearly mastered the Mumford-ian way of playing acoustic guitar in songs like "Home" and "Gone Gone Gone". His third major song, "Where We Came From", doesn't have the graceful, finger-picked sound of his other two songs, instead opting for more of a half folk, half blues type sound, a la Dave Matthews (supposedly one of Phillip's biggest influences). The cello in "Where We Came From" adds a nice touch to it, too, making it distinguishable from his other material. The "precious" element in many of his songs shows up more in the lyrics than the song itself in "Where We Came From", especially given its nature related imagery (i.e. mountains, shores, moon, sun, etc.) in the chorus. Once again, Phillips has won peoples' hearts more than he has a reality show contest, and I hope he continues to do so!
"Better Man" by Beth Hart: Not to be confused with the Pearl Jam song of the same name, Beth Hart's "Better Man" continues in the blues-y direction that Beth has been more actively pursuing in the 2010's. Beneath its pop-y beat and uptempo piano sound beat the heart of "Better Man", which can be defined by Beth's gutsy, passionate vocals, and its electric guitar based sound that blends country, rock, and blues into one spicy, catchy musical gumbo! A sizzling ode to whoever Beth's current lover happens to be, "Better Man" is great at capturing the jubilation anyone feels when they finally find the one they want to spend the rest of their life with!
"The Dream's In the Ditch" by Deer Tick: Deer Tick are one of the more roots-y indie bands whose sound owes more to Bob Dylan and Neil Young than it does The Velvet Underground and The Beatles. As far as I can tell, though, between their 2011 song, "Main Street", and their most recent song, "The Dream's In the Ditch", one of Deer Tick's biggest influences is none other than The Boss himself, Bruce Springsteen! "The Dream's In the Ditch" evokes early Springsteen, in particular, with its vaguely "Thunder Road"-ish chimes and guitars (though that colorful, tinkling piano solo in the middle is purely Deer Tick's own!) The subject matter of "The Dream's In the Ditch" is not uncommon to the roots-y side of classic rock either. It's basically a song about the ups and downs of touring on the road, not unlike Jackson Browne's "Running On Empty", or The Grateful Dead's "Truckin'". Happy trails!!
"Thirst" by City and Colour: It seems as though Canada's one man indie band, Dallas Green (or "City and Colour"), tired of the neo-folk-rock schtick about a year before it became big on alt-rock stations. He started with the folks-y "Sleeping Sickness", and has gone for a fuzzier, more rock based sound ever since (with the exception of the largely acoustic, "The Grand Optimist"). Dallas' latest song, "Thirst", continues in the more contemporary rock 'n' roll direction that he seems to want to become more known for. "Thirst" has what could be called a "White Stripes lite" distortion in its guitar sound, while the beat of the song is closer to Gary Numan's proto-synth-pop classic, "Cars". The lyrics in "Thirst" would not seem out of place for Dallas' former band, the hardcore "screamo" group, Alexisonfire (Alex is on fire), with its mentions of "fates worse than death", "an ocean of anger", and being "gracefully cursed".
"Walk Us Uptown" by Elvis Costello, featuring The Roots: For a musician, "The Three R's" are probably rock, rhythm, and rap, and this song just happens to have all three!! And you thought that the coolest connects between rock and rap ended with The Beastie Boys, and Run-D.M.C. and Aerosmith's collaboration of "Walk This Way"?! Well, think again!! Rocker Elvis Costello and hip-hop group, The Roots (both of whom are quite eclectic for their respective genres), have now come together in an unlikely, but quite catchy musical teaming, in "Walk Us Uptown". The song marks a high point for both musicians, with its sleek, street-smart vibe, and its seemingly effortless combining of jazzy horns, reggae influenced rhythm guitars, the occasional use of shattering, blues influenced lead guitars, and its smooth hip-hop beat. Is it just me, or has Elvis Costello gotten hipper as he's gotten older?!
"Where We Came From" by Phillip Phillips: "American Idol"'s number one musical oddity is now up for a THIRD hit song on adult alt radio stations. If it were any other contestant on the show, I probably wouldn't care, but this is Phillip Phillips we're talking about here, who has clearly mastered the Mumford-ian way of playing acoustic guitar in songs like "Home" and "Gone Gone Gone". His third major song, "Where We Came From", doesn't have the graceful, finger-picked sound of his other two songs, instead opting for more of a half folk, half blues type sound, a la Dave Matthews (supposedly one of Phillip's biggest influences). The cello in "Where We Came From" adds a nice touch to it, too, making it distinguishable from his other material. The "precious" element in many of his songs shows up more in the lyrics than the song itself in "Where We Came From", especially given its nature related imagery (i.e. mountains, shores, moon, sun, etc.) in the chorus. Once again, Phillips has won peoples' hearts more than he has a reality show contest, and I hope he continues to do so!
Wednesday, February 13, 2013
Songs for the day before Valentine's Day
Well, ok, so not all of these are love songs, but I'll review 'em anyway! Here goes:
"Follow the Road" by The Dunwells: With the strength of their first big hit, "I Could Be A King", I initially thought that The Dunwells were like an American version of Mumford and Sons, but now that I'm getting to know the brothers Dunwell a little better, I can see that they are much more eclectic than that! No song proves their willingness to be different more than their latest song, "Follow the Road". It even starts out kinda cool, with its vaguely sitar-ish psych-folk sound. It quickly turns into a roots-rocker of the finest quality, with a wicked guitar solo to boot! As "bluegrass-rock" has quickly become the latest, hippest trend in rock music of the 2010's, The Dunwells really put the "rock" in "bluegrass-rock", at least for "Follow the Road", and how!!
"From A Window Seat" by Dawes: One of the two most anticipated new releases of the week (along with the latest from blue-eyed soul group Fitz and The Tantrums), "From A Window Seat" by Dawes shows Taylor Goldsmith and co's ever growing fascination for the roots-y side of classic rock (perhaps this was partly influenced by the members actually MEETING Jackson Browne, and then collaborating with him shortly afterwards). It's a bit more bouncy and upbeat than the typical Dawes song, and it seems to echo both the beat and style of guitar playing from songs like "Sultans of Swing" by Dire Straits. Lyrically, Dawes seem to be stretching their boundaries on "From A Window Seat". Instead of waxing poetic about "judg(ing) the whole world on the sparkle that you think it lacks", or talking about someone with that "special kind of sadness", far more surreal imagery concerning "dreams of captains and explorers eating boots" (whatever THAT means!!) comes up instead. Go figure!!
"Gone Gone Gone" by Phillip Phillips: With the word "Gone" mentioned three times and the name "Phillip" mentioned twice, saying the name of this song and artist out loud seems kinda funny, but the person who is (so far) "American Idol's" sole folk-rocker is no comedian. It's honestly unbelievable to me that Phillip would have another song besides "Home" getting attention, since "Home" was in so many places in the fall of 2012 that it seemed like one of those songs that just couldn't be topped. Though "Gone Gone Gone" hasn't had near the level of success "Home" has so far, Phillip Phillips seems to know what the basic formula is for having one of his songs becoming a hit. Positive message ("I'll love you long after you're gone")? Check! Acoustic guitar in the verses and bright shiny horns in the chorus? Check! A bouncy, irresistible earworm of a song? Well, "Gone Gone Gone" is different than that. It's a bit more poignant than it is happy, but there is still plenty of charm and warm, cozy vibes to be found in "Gone Gone Gone"!
"Good Love" by Jenny O: The echo-y acoustic guitars, funky beat, and honey-sweet vocals of Jenny O's breakthrough song, "Good Love", could liken her to being like an indie Fleetwood Mac (though plenty of people have taken that title already, most notably Jenny Lewis from Rilo Kiley). The fact that "Good Love" uses only two chords (E minor and A minor) makes it a bit more minimalistic than Fleetwood Mac, but it still sounds like a song that came straight out of the mid-'70s for some reason. Simple though it may be, "Good Love" still has that sort of organic, earthy honesty that provides a breath of fresh air in comparison to most songs of the 2010's. Not much more to say about this song, aside from how sometimes, the easiest approach to crafting a song can also the best approach.
"Inch of Rope" by Courrier: "Inch of Rope", the second major song from British sounding alt-pop group, Courrier, seems to pick up where The Airborne Toxic Event (also listed for this week's blog) left off. Where The Airborne Toxic Event seemed to want to take more of a generic alt-pop route to music, Courrier dabble in a more honest brand of what sounds like Brit-pop (though they are actually Texans) that has become scarce in a world full of piano-based Coldplay and Keane sound-alikes. A kind of contemplation is present in Courrier's music that actually makes me feel drawn to it, and about the only bands I really find comparable to them at the moment are groups like Scars on 45 and A Silent Film (both of whom are ACTUALLY British). Courrier are a rarity in this day and age, but perhaps sometimes, good things are better when they're a rarity.
"Out of My League" by Fitz and The Tantrums: Fitz and The Tantrums first broke through in fall of 2010, with their soulful alt-pop/rock mega-hit, "MoneyGrabber", known for its Motown-esque "white soul" sound. For their latest song, the heavily anticipated "Out of My League", Fitz and co shake things up a bit by adding a bit of new wave influence, while still keeping a bit of R & B at the core of their sound. Perhaps the small but still somewhat significant trend of "new wave soul" in bands like Graffiti6 and Electric Guest was part of what made Fitz and The Tantrums want to add more of a new wave-y sound into their own music. Hall and Oates are one of Fitz and The Tantrums biggest heroes, though (they even recorded some music at Daryl Hall's house once!) and it seems like that's who FATT are trying to emulate the most on "Out of My League". Hall and Oates made a similar transition between the '70s and the '80s from being "blue-eyed soul" to being more new wave influenced, so that would make sense. Though "Out of My League" doesn't seem like it will have near the impact "MoneyGrabber" did, it's still well worth the listen!
"Roots and Vine" by Sons of Fathers: Both the name of this song and the name of this band bring to mind a sort of folks-y, 19th century America kinda vibe, don't they?! Well, that's not too far from the truth, in this case! At least in terms of the roots-y, accordion laden music, it isn't. The song itself seems to be more of a "drinking song", though, particularly during the chorus ("You're the roots and I'm the vine, together we can make the wine"). Like Courrier (reviewed earlier during this week's blog), Sons of Fathers are a Texan band. Unlike Courrier, Sons of Fathers actually SOUND Texan. Lead singer Paul Cauthen's Texan heritage are an obvious reason why "Roots and Vine" sounds the way it does. A less obvious influence on Cauthen's music, for those who are interested, is how he spent time on a chain gang when he was younger. Talk about your American history!
"Timeless" by The Airborne Toxic Event: There isn't really anything "timeless" about the way The Airborne Toxic Event's latest song sounds, as it doesn't stand a chance against "Sgt. Pepper", "Pet Sounds", and other songs/albums that truly ARE "timeless". However, there's still a good reason why the song has the title it does, and it's quite touching, really. It is because that is the way lead singer Mikel Jollett feels about his grandmother, who was recently deceased. Somehow, I feel like "Timeless" could have been a much more effectively melancholy song, but still, it deserves an A for effort, since it's the first song I know of by The Airborne Toxic Event that deals with death, and the death of someone terribly close, at that.
"Follow the Road" by The Dunwells: With the strength of their first big hit, "I Could Be A King", I initially thought that The Dunwells were like an American version of Mumford and Sons, but now that I'm getting to know the brothers Dunwell a little better, I can see that they are much more eclectic than that! No song proves their willingness to be different more than their latest song, "Follow the Road". It even starts out kinda cool, with its vaguely sitar-ish psych-folk sound. It quickly turns into a roots-rocker of the finest quality, with a wicked guitar solo to boot! As "bluegrass-rock" has quickly become the latest, hippest trend in rock music of the 2010's, The Dunwells really put the "rock" in "bluegrass-rock", at least for "Follow the Road", and how!!
"From A Window Seat" by Dawes: One of the two most anticipated new releases of the week (along with the latest from blue-eyed soul group Fitz and The Tantrums), "From A Window Seat" by Dawes shows Taylor Goldsmith and co's ever growing fascination for the roots-y side of classic rock (perhaps this was partly influenced by the members actually MEETING Jackson Browne, and then collaborating with him shortly afterwards). It's a bit more bouncy and upbeat than the typical Dawes song, and it seems to echo both the beat and style of guitar playing from songs like "Sultans of Swing" by Dire Straits. Lyrically, Dawes seem to be stretching their boundaries on "From A Window Seat". Instead of waxing poetic about "judg(ing) the whole world on the sparkle that you think it lacks", or talking about someone with that "special kind of sadness", far more surreal imagery concerning "dreams of captains and explorers eating boots" (whatever THAT means!!) comes up instead. Go figure!!
"Gone Gone Gone" by Phillip Phillips: With the word "Gone" mentioned three times and the name "Phillip" mentioned twice, saying the name of this song and artist out loud seems kinda funny, but the person who is (so far) "American Idol's" sole folk-rocker is no comedian. It's honestly unbelievable to me that Phillip would have another song besides "Home" getting attention, since "Home" was in so many places in the fall of 2012 that it seemed like one of those songs that just couldn't be topped. Though "Gone Gone Gone" hasn't had near the level of success "Home" has so far, Phillip Phillips seems to know what the basic formula is for having one of his songs becoming a hit. Positive message ("I'll love you long after you're gone")? Check! Acoustic guitar in the verses and bright shiny horns in the chorus? Check! A bouncy, irresistible earworm of a song? Well, "Gone Gone Gone" is different than that. It's a bit more poignant than it is happy, but there is still plenty of charm and warm, cozy vibes to be found in "Gone Gone Gone"!
"Good Love" by Jenny O: The echo-y acoustic guitars, funky beat, and honey-sweet vocals of Jenny O's breakthrough song, "Good Love", could liken her to being like an indie Fleetwood Mac (though plenty of people have taken that title already, most notably Jenny Lewis from Rilo Kiley). The fact that "Good Love" uses only two chords (E minor and A minor) makes it a bit more minimalistic than Fleetwood Mac, but it still sounds like a song that came straight out of the mid-'70s for some reason. Simple though it may be, "Good Love" still has that sort of organic, earthy honesty that provides a breath of fresh air in comparison to most songs of the 2010's. Not much more to say about this song, aside from how sometimes, the easiest approach to crafting a song can also the best approach.
"Inch of Rope" by Courrier: "Inch of Rope", the second major song from British sounding alt-pop group, Courrier, seems to pick up where The Airborne Toxic Event (also listed for this week's blog) left off. Where The Airborne Toxic Event seemed to want to take more of a generic alt-pop route to music, Courrier dabble in a more honest brand of what sounds like Brit-pop (though they are actually Texans) that has become scarce in a world full of piano-based Coldplay and Keane sound-alikes. A kind of contemplation is present in Courrier's music that actually makes me feel drawn to it, and about the only bands I really find comparable to them at the moment are groups like Scars on 45 and A Silent Film (both of whom are ACTUALLY British). Courrier are a rarity in this day and age, but perhaps sometimes, good things are better when they're a rarity.
"Out of My League" by Fitz and The Tantrums: Fitz and The Tantrums first broke through in fall of 2010, with their soulful alt-pop/rock mega-hit, "MoneyGrabber", known for its Motown-esque "white soul" sound. For their latest song, the heavily anticipated "Out of My League", Fitz and co shake things up a bit by adding a bit of new wave influence, while still keeping a bit of R & B at the core of their sound. Perhaps the small but still somewhat significant trend of "new wave soul" in bands like Graffiti6 and Electric Guest was part of what made Fitz and The Tantrums want to add more of a new wave-y sound into their own music. Hall and Oates are one of Fitz and The Tantrums biggest heroes, though (they even recorded some music at Daryl Hall's house once!) and it seems like that's who FATT are trying to emulate the most on "Out of My League". Hall and Oates made a similar transition between the '70s and the '80s from being "blue-eyed soul" to being more new wave influenced, so that would make sense. Though "Out of My League" doesn't seem like it will have near the impact "MoneyGrabber" did, it's still well worth the listen!
"Roots and Vine" by Sons of Fathers: Both the name of this song and the name of this band bring to mind a sort of folks-y, 19th century America kinda vibe, don't they?! Well, that's not too far from the truth, in this case! At least in terms of the roots-y, accordion laden music, it isn't. The song itself seems to be more of a "drinking song", though, particularly during the chorus ("You're the roots and I'm the vine, together we can make the wine"). Like Courrier (reviewed earlier during this week's blog), Sons of Fathers are a Texan band. Unlike Courrier, Sons of Fathers actually SOUND Texan. Lead singer Paul Cauthen's Texan heritage are an obvious reason why "Roots and Vine" sounds the way it does. A less obvious influence on Cauthen's music, for those who are interested, is how he spent time on a chain gang when he was younger. Talk about your American history!
"Timeless" by The Airborne Toxic Event: There isn't really anything "timeless" about the way The Airborne Toxic Event's latest song sounds, as it doesn't stand a chance against "Sgt. Pepper", "Pet Sounds", and other songs/albums that truly ARE "timeless". However, there's still a good reason why the song has the title it does, and it's quite touching, really. It is because that is the way lead singer Mikel Jollett feels about his grandmother, who was recently deceased. Somehow, I feel like "Timeless" could have been a much more effectively melancholy song, but still, it deserves an A for effort, since it's the first song I know of by The Airborne Toxic Event that deals with death, and the death of someone terribly close, at that.
Wednesday, September 19, 2012
New songs for September 19th, 2012
here they are:
"Ain't Messin' Around" by Gary Clark Jr.: Does Gary Clark Jr. have his own schedule or something?! His juicy, blues-rock song "Bright Lights" came out LAST September, and now he's releasing a song in September AGAIN?!? Was this on purpose?! Well, perhaps not, but what is on purpose is Mr. Clark Jr.'s solid delivery of jazz, blues, and rock wrapped up into one tasty slice of music! Coachella's best (and so far, only) bluesman boasts a riff in E major similar to INXS's "New Sensation", only with cleaner distortion and more saxophone backing it up in "Ain't Messin' Around". Bottom line is, when Gary says he "Ain't Messin' Around", you'd better believe him!!
"Change" by Churchill: Somehow, the name of this band doesn't exactly paint an accurate picture of who they really are. I would think that "Churchill" would be a folks-y band with a male lead singer. It's not! It's actually a slick alt-pop group with a female lead singer! Nothing particularly special about this song, as far as I can see, except for how bouncy and danceable it is. Churchill's lead singer is also pretty good at what she does. However, I could easily see "Change" being written off by some as a "Gwen Stefani lite" song. Not bad, but there have definitely been better songs for 2012, as far as I'm concerned.
"Disappear" by Patterson Hood: Supposedly, Patterson's band, Drive-By Truckers, used to have a "jam band" element to their music. However, his two best known songs so far, this one and the Truckers' "Everybody Needs Love", are both more like moody brands of country-rock than jam band music. "Disappear" delves even further into the country-rock subgenre. Where "Everybody Needs Love" at least had a guitar solo, "Disappear" does not. However, given what a bittersweet song "Disappear" is, both lyrically and musically, I don't think it needs one. The violins in the background already provide enough instrumentation for "Disappear" to tug at the heartstrings. A line in the middle of the song, ("Simply disappear, and vanish into thin air, sometimes it's better to just not be there") defines "Disappear" pretty well. It is a song about escaping the pressures of everyday socialization. Though we are social creatures, I think we all feel like escaping from that every once in a while, and Patterson Hood echoes this sentiment quite well!
"Home" by Phillip Phillips: Typically, when "American Idol" goes in a rock direction, it's usually hard rock, as Bo Bice, Chris Daughtry, and James Durbin would all be willing to tell you. It isn't usually folk-rock. Thankfully, Phillip Phillips has proved to be an exception to this. Though I'm not an "Idol" viewer by any means, I must say that I am impressed by Mr. Phillips. "Home" is a song that is influenced by people like The Dave Matthews Band, though it has a more Mumford-esque sound than that as far as I'm concerned. It really does not sound like a typical "Idol" song at all!! There is no big band or production sound backing it up. Just Phillip, his acoustic guitar, backing vocalists, and a light percussion section (and later, a keyboard section). Who knows, perhaps Phillip will start a trend of indie/folk influenced musicians on "American Idol", which would make it a much more watchable show for me! But if not, he'll be remembered as the one participant who made one of the most mainstream shows in American pop culture seem more indie, if only for a moment!
"Little Lizzie Mae" by The Chris Robinson Brotherhood: For the ex-Black Crowes member's second big song with his side project, Chris has decided to kick out the jams once again! But this time, he seems to be drawing from an unlikely source - Van Morrison! The main riff of "Little Lizzie Mae" sounds almost exactly like Morrison's "Blue Money". Sure, there's plenty of Allman Brothers style noodling in "Little Lizzie Mae", but it feels more like jazz-rock than jam rock. Lyrically, "Little Lizzie Mae" sounds like it's about a girl who's (probably) playing Chris Robinson for a fool. That being said, I can't help but feel like Robinson is playing his listeners for fools! Van Morrison isn't exactly the kind of influence I would expect for a "jam band" song, so one might not expect to have a guitar solo between each verse (perhaps a sax solo instead?!) Nonetheless, though, "Little Lizzie Mae" is very much of a "feel good" song in terms of its sound, and you can't go wrong with that!!
"The Ballad of John and Yoko" by Widespread Panic: And speaking of jam bands, here is a (now) legendary jam band covering...a legendary Beatles song?!? Whaaat?!?! Widespread Panic do a decent job at covering the infamous Lennon tune, though. Not as good as the original, but WP put their own unique spin on it! Interestingly, acoustic guitar (and a neat li'l honky tonk style piano) are the main instruments on this version! The electric guitar takes a backseat here. The way I see it, if Jimi Hendrix can take on TWO Bob Dylan tunes, then Widespread Panic can take on (at least) one from The Beatles!!
"Wind and Walls" by The Tallest Man on Earth: Like "1904", the TMOE's hit from earlier this year, "Wind and Walls" is only two things, acoustic guitar and vocals. For such a simple setup, though, The Tallest Man on Earth manages to sound beautiful nonetheless. The lyrics are somewhat enigmatic (for instance, "Singing songs of rivers tied to accidents within/Telling people lies of lions, treasures, and kings"), but that is part of the charm of The Tallest Man on Earth, and how, no matter what he sings, he still manages to make his songs sound soft and sweet (bittersweet, in this case). Highly recommended!
"Ain't Messin' Around" by Gary Clark Jr.: Does Gary Clark Jr. have his own schedule or something?! His juicy, blues-rock song "Bright Lights" came out LAST September, and now he's releasing a song in September AGAIN?!? Was this on purpose?! Well, perhaps not, but what is on purpose is Mr. Clark Jr.'s solid delivery of jazz, blues, and rock wrapped up into one tasty slice of music! Coachella's best (and so far, only) bluesman boasts a riff in E major similar to INXS's "New Sensation", only with cleaner distortion and more saxophone backing it up in "Ain't Messin' Around". Bottom line is, when Gary says he "Ain't Messin' Around", you'd better believe him!!
"Change" by Churchill: Somehow, the name of this band doesn't exactly paint an accurate picture of who they really are. I would think that "Churchill" would be a folks-y band with a male lead singer. It's not! It's actually a slick alt-pop group with a female lead singer! Nothing particularly special about this song, as far as I can see, except for how bouncy and danceable it is. Churchill's lead singer is also pretty good at what she does. However, I could easily see "Change" being written off by some as a "Gwen Stefani lite" song. Not bad, but there have definitely been better songs for 2012, as far as I'm concerned.
"Disappear" by Patterson Hood: Supposedly, Patterson's band, Drive-By Truckers, used to have a "jam band" element to their music. However, his two best known songs so far, this one and the Truckers' "Everybody Needs Love", are both more like moody brands of country-rock than jam band music. "Disappear" delves even further into the country-rock subgenre. Where "Everybody Needs Love" at least had a guitar solo, "Disappear" does not. However, given what a bittersweet song "Disappear" is, both lyrically and musically, I don't think it needs one. The violins in the background already provide enough instrumentation for "Disappear" to tug at the heartstrings. A line in the middle of the song, ("Simply disappear, and vanish into thin air, sometimes it's better to just not be there") defines "Disappear" pretty well. It is a song about escaping the pressures of everyday socialization. Though we are social creatures, I think we all feel like escaping from that every once in a while, and Patterson Hood echoes this sentiment quite well!
"Home" by Phillip Phillips: Typically, when "American Idol" goes in a rock direction, it's usually hard rock, as Bo Bice, Chris Daughtry, and James Durbin would all be willing to tell you. It isn't usually folk-rock. Thankfully, Phillip Phillips has proved to be an exception to this. Though I'm not an "Idol" viewer by any means, I must say that I am impressed by Mr. Phillips. "Home" is a song that is influenced by people like The Dave Matthews Band, though it has a more Mumford-esque sound than that as far as I'm concerned. It really does not sound like a typical "Idol" song at all!! There is no big band or production sound backing it up. Just Phillip, his acoustic guitar, backing vocalists, and a light percussion section (and later, a keyboard section). Who knows, perhaps Phillip will start a trend of indie/folk influenced musicians on "American Idol", which would make it a much more watchable show for me! But if not, he'll be remembered as the one participant who made one of the most mainstream shows in American pop culture seem more indie, if only for a moment!
"Little Lizzie Mae" by The Chris Robinson Brotherhood: For the ex-Black Crowes member's second big song with his side project, Chris has decided to kick out the jams once again! But this time, he seems to be drawing from an unlikely source - Van Morrison! The main riff of "Little Lizzie Mae" sounds almost exactly like Morrison's "Blue Money". Sure, there's plenty of Allman Brothers style noodling in "Little Lizzie Mae", but it feels more like jazz-rock than jam rock. Lyrically, "Little Lizzie Mae" sounds like it's about a girl who's (probably) playing Chris Robinson for a fool. That being said, I can't help but feel like Robinson is playing his listeners for fools! Van Morrison isn't exactly the kind of influence I would expect for a "jam band" song, so one might not expect to have a guitar solo between each verse (perhaps a sax solo instead?!) Nonetheless, though, "Little Lizzie Mae" is very much of a "feel good" song in terms of its sound, and you can't go wrong with that!!
"The Ballad of John and Yoko" by Widespread Panic: And speaking of jam bands, here is a (now) legendary jam band covering...a legendary Beatles song?!? Whaaat?!?! Widespread Panic do a decent job at covering the infamous Lennon tune, though. Not as good as the original, but WP put their own unique spin on it! Interestingly, acoustic guitar (and a neat li'l honky tonk style piano) are the main instruments on this version! The electric guitar takes a backseat here. The way I see it, if Jimi Hendrix can take on TWO Bob Dylan tunes, then Widespread Panic can take on (at least) one from The Beatles!!
"Wind and Walls" by The Tallest Man on Earth: Like "1904", the TMOE's hit from earlier this year, "Wind and Walls" is only two things, acoustic guitar and vocals. For such a simple setup, though, The Tallest Man on Earth manages to sound beautiful nonetheless. The lyrics are somewhat enigmatic (for instance, "Singing songs of rivers tied to accidents within/Telling people lies of lions, treasures, and kings"), but that is part of the charm of The Tallest Man on Earth, and how, no matter what he sings, he still manages to make his songs sound soft and sweet (bittersweet, in this case). Highly recommended!
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