here they are:
"Come On" by Mondo Cozmo: As cool and edgy as "Black Cadillac" was, there's probably a reason its success crashed. Mondo Cozmo's latest song, "Come On", has two important words that "Black Cadillac" didn't: Anna Faris! No, she doesn't sing on the track, but she is in its video, which seems to have gotten a lot of attention specifically for that reason (https://www.youtube.com/watch?v=b2FImefxs9s). The song is otherwise kinda cool, but doesn't have much to offer other than a Pennsylvania native pretending to sound like a Brit.
"Go Crazy" by G. Love (featuring Keb' Mo'): G. Love has a rather eccentric approach to the blues, while Keb' Mo's is more on the "traditional" side, but anyone who knows either musician knows how much they love the blues! The song has more of the laid back vibes that Mo' has been known for, but the "Looney Tunes"-ish music video for the song (https://www.youtube.com/watch?v=_2Licd-XbHc) seems like it's more suited to G. Love's kookier style. Both musicians look like "Merrie Melodies" cartoons from the 1930's in the song's video. Why? Darned if I know! But it's still pretty entertaining both to watch and to hear!
"Trouble In Paradise" by Rufus Wainwright: Rufus was pretty active in the music biz in the '00s, but until this point, he had only released one record during the 2010's, so I thought he had called it quits for awhile. After 7 years of absence, Rufus is back! Mixing the twang of George Harrison with the elegant piano-pop of Elton John, "Trouble In Paradise" seems like the sort of song Elton could write AND perform! The song reflects on the fashion industry, and how critical Rufus feels towards it. While most of the big reunions being poised for the 2020's tend to focus on hard rock, Rufus offers us some musical calm amidst the brewing storm (though perhaps "reunion" is the wrong word to use for Rufus, since he's only one person). Hopefully, more folks on the fluffier, prettier side of the rock spectrum will take his lead pretty soon. In the meantime, at least Rufus is there to offer us paradise amongst a sea of troubled bands with "Trouble In Paradise".
Showing posts with label Rufus Wainwright. Show all posts
Showing posts with label Rufus Wainwright. Show all posts
Wednesday, November 6, 2019
Saturday, December 1, 2012
Have A Holly Jolly Hipster Christmas - special blog dedicated to "Holidays Rule"!!
I don't normally post on days other than Wednesday, but the new CD "Holidays Rule", showcasing mostly contemporary folk-rock and indie-pop, has soooo many good songs that would just be too much to blog about if I added them into another blog entry for non-Christmas/non-holiday related songs! There actually too many songs on this CD to be covering in one entry, so I'll be reviewing my personal faves from the CD today. So here goes! Hope you like it!!
"Auld Lang Syne" by Andrew Bird: Ever the quirky indie musician, Mr. Bird has decided not to choose a Christmas related song, and opt for a New Year's one instead! And his arrangement of it is...ummm...interesting!! Instead of being sung with reverence, it is treated more like a jaunty, honky-tonk song! No Andrew Bird song is complete without a string section instrument, but Bird continues to surprise his listeners by choosing a fiddle this time instead of a violin or cello like he usually does. It's also pretty impressive that Andrew Bird knows more than just the first verse of "Auld Lang Syne", since most people (including myself) only remember that verse!
"Baby It's Cold Outside" by Rufus Wainwright and Sharon Van Etten: The ultimate boy/girl duet Christmas song is performed this year by eclectic music extraordinaire Rufus Wainwright and angst-ridden folk-rocker Sharon Van Etten. Presented only with piano and vocals, Rufus and Sharon deliver an endearing duet (in which Rufus, as always, steals the show) that is bound to make one curl up inside with a cup of hot cocoa by the fireplace with his/her loved one. Van Etten's nearly deadpan vocal delivery provides an intriguing contrast with Wainwright's expressively operatic vocals, but they still manage to make it work! If only Zooey Deschanel didn't perform this song TWICE (once with Will Ferrell and another with M. Ward), I'd opt for her to sing the "girl" parts of this song, but otherwise, well worth the listen!
"Blue Christmas" by Heartless B*st*rds: A band whose name is both a curse word and an insult doesn't exactly seem like one that would be in the Christmas spirit, does it?! Surprise! Erika Wennerstrom is no Grinch! However, she did choose a more brokenhearted holiday song for "Holidays Rule", "Blue Christmas", a song that I initially thought had only been done by Elvis Presley, but has been covered by many others ever since. The HB's give "Blue Christmas" a melancholy country-rock treatment, complete with a sighing, twangy guitar solo in the middle. A big ol' heart melter, like most of the "Holidays Rule" songs, but that's why I like it!
"(Everybody's Waitin' For) The Man With the Bag" by Black Prairie: With a title that's a clear reference to Santa Claus, you'd think a song like this would be pretty energetic. And it is! But...not at first. The first 30 seconds or so of "Man With the Bag" build up suspense to a song that soon begins to sound like The Decemberists got taken over by Feist leading a band of jolly little elves! A surprisingly fun song for a band whose only known song so far is called "How Do You Ruin Me?" This could land Black Prairie a guest spot on "Yo Gabba Gabba" if they're not careful, heheh.
"Green Grows the Holly" by Calexico: Not one of the obvious Santa/Rudolph type Christmas songs, but it's songs like Calexico's "Green Grows the Holly" that adds a bit of diversity in subject matter to the "Holidays Rule" song collection. A very mournful holiday song, too, but not without a unique, Calexico-style horn solo in the middle of it to make it perk up, if only for a minute. Calexico are typically more lively than they are on this acoustic-guitar-and-horns-only track. Where I would normally envision a Calexico song taking place around the Mojave Desert in the middle of summer in the afternoon, this one seems more to take place around dusk, near winter, with holly and ivy growing in place of the cacti.
"I Heard the Bells On Christmas Day" by The Civil Wars: John and Joy turn a solemn Christmas song into a more charming one simply by using their signature harmonies to make the song complete, but the sentiments of requesting peace on Earth and good will to men in a world of cynical people are still there. Accompanied only by acoustic guitar, The Civil Wars show, once again, how their brand of quiet is the new loud, enough to make listeners stop and become entranced by both the mellifluous melodies and universally uplifting utterances of their take on an old Christmas fave.
"It's Beginning to Look A Lot Like Christmas" by Fruit Bats: The formerly cheery Christmas song, "It's Beginning to Look A Lot Like Christmas", gets a makeover from indie-folk-rockers Fruit Bats, with a sound that's halfway between a classic country song and Hawaiian music. Though The Bats have made this song lose some of the pep it once had, it is not completely without its bouncy beat. It's not as though Fruit Bats have added minor chords in place of the major ones, that's still a part of the song in this version. It's beginning to look a lot like Christmas, but more like the kind of Christmas you'd want to spend inside your house, and not outside in a mall.
"O Come, O Come, Emmanuel" by Punch Brothers: An interesting selection for "Holidays Rule", and an even more interesting version! Among the recent "bluegrass-rock" boom, Punch Brothers are probably one of the few (if not the only) band of the bunch that could be considered "progressive bluegrass", since their verses and choruses are often in completely different keys to one another. They continue to demonstrate this oddly amazing talent in their take on "O Come, O Come, Emmanuel", one of those songs that, "keeps the 'Christ' in 'Christmas'", so to speak, as its title and subject matter are both references to Jesus. Punch Brothers do not lose an ounce of reverence in their rendition of "O Come, O Come, Emmanuel", in terms of both vocal and instrumental quality. Perhaps this means that Punch Brothers are "brothers" in more ways than one might expect?!
"Sleigh Ride" by fun.: I have truly underestimated fun. With each song they release, their instrumental talents continue to impress me more and more. With the combination of "modern" instruments (like synths), and more "traditional" ones (like violins and flutes) all set to a giant indie-pop wall of sound, this version of "Sleigh Ride" could have been done by Arcade Fire with the exact same arrangement (but with different vocals, obviously)!! It even dips into psychedelic, echo-y territory a la "Tomorrow Never Knows" by The Beatles towards the end of it! I think fun. are gliding through more than just a wonderland of snow in their version of "Sleigh Ride". They are gliding through a wonderland of SOUND!! Now that's what I call "ear candy"!
"The Christmas Song" by Paul McCartney: Sir Paul must be quite overwhelmed that he is both performing a song AND having a song he originally did covered by someone else ("Wonderful Christmastime") on the same album!! Macca's arrangement of the time-honored Christmas tune that begins with descriptions of "chestnuts roasting on an open fire" and "Jack Frost nipping at your nose" is not a bad one, but a B effort, or perhaps even a C one, in comparison to the Nat King Cole version I'm used to hearing. It must also feel weird for Paul to be the only "classic rock" musician on a record of mostly indie-pop musicians of the '00s and 2010's. Perhaps that's why his efforts feel only so-so on "The Christmas Song", but this IS a song that seems to be good, regardless of who's singing it.
"What Are You Doing New Year's Eve?" by The Head and The Heart: Aside from Andrew Bird's contribution to "Holidays Rule", this is the only post-Christmas December related song on the CD. I realize just now that this is The Head and The Heart's first major song with romantic sentiments attached to it. Their topics previously revolved around homesickness ("Lost In My Mind"), being a world weary traveler ("Down In the Valley"), and speculations about the paranormal ("Ghosts"). So how do The Head and The Heart fare at choosing more personal subject matter into their music?! Quite effectively, if I do say so myself. The song carries a sweet, but not sappy, message of hope to spend New Year's Eve with one's significant other, and is perfect for a cozy, warm, stay-at-home December.
"Wonderful Christmastime" by The Shins: And last, but not least, it's Paul McCartney! Ummm...I mean...The Shins COVERING Paul McCartney! Kind of. James Mercer's love of The Beach Boys is more obvious in this version of McCartney's signature Christmas tune than his love of The Beatles, what the "Good Vibrations"-ish organ to start off the song. The lyrics get either goofed up or added on to at certain parts, so it doesn't exactly feel like a sincere cover, but those who prefer have their holiday tunes sound more psychedelic than plain ol' happy might get a kick out of this version.
"Auld Lang Syne" by Andrew Bird: Ever the quirky indie musician, Mr. Bird has decided not to choose a Christmas related song, and opt for a New Year's one instead! And his arrangement of it is...ummm...interesting!! Instead of being sung with reverence, it is treated more like a jaunty, honky-tonk song! No Andrew Bird song is complete without a string section instrument, but Bird continues to surprise his listeners by choosing a fiddle this time instead of a violin or cello like he usually does. It's also pretty impressive that Andrew Bird knows more than just the first verse of "Auld Lang Syne", since most people (including myself) only remember that verse!
"Baby It's Cold Outside" by Rufus Wainwright and Sharon Van Etten: The ultimate boy/girl duet Christmas song is performed this year by eclectic music extraordinaire Rufus Wainwright and angst-ridden folk-rocker Sharon Van Etten. Presented only with piano and vocals, Rufus and Sharon deliver an endearing duet (in which Rufus, as always, steals the show) that is bound to make one curl up inside with a cup of hot cocoa by the fireplace with his/her loved one. Van Etten's nearly deadpan vocal delivery provides an intriguing contrast with Wainwright's expressively operatic vocals, but they still manage to make it work! If only Zooey Deschanel didn't perform this song TWICE (once with Will Ferrell and another with M. Ward), I'd opt for her to sing the "girl" parts of this song, but otherwise, well worth the listen!
"Blue Christmas" by Heartless B*st*rds: A band whose name is both a curse word and an insult doesn't exactly seem like one that would be in the Christmas spirit, does it?! Surprise! Erika Wennerstrom is no Grinch! However, she did choose a more brokenhearted holiday song for "Holidays Rule", "Blue Christmas", a song that I initially thought had only been done by Elvis Presley, but has been covered by many others ever since. The HB's give "Blue Christmas" a melancholy country-rock treatment, complete with a sighing, twangy guitar solo in the middle. A big ol' heart melter, like most of the "Holidays Rule" songs, but that's why I like it!
"(Everybody's Waitin' For) The Man With the Bag" by Black Prairie: With a title that's a clear reference to Santa Claus, you'd think a song like this would be pretty energetic. And it is! But...not at first. The first 30 seconds or so of "Man With the Bag" build up suspense to a song that soon begins to sound like The Decemberists got taken over by Feist leading a band of jolly little elves! A surprisingly fun song for a band whose only known song so far is called "How Do You Ruin Me?" This could land Black Prairie a guest spot on "Yo Gabba Gabba" if they're not careful, heheh.
"Green Grows the Holly" by Calexico: Not one of the obvious Santa/Rudolph type Christmas songs, but it's songs like Calexico's "Green Grows the Holly" that adds a bit of diversity in subject matter to the "Holidays Rule" song collection. A very mournful holiday song, too, but not without a unique, Calexico-style horn solo in the middle of it to make it perk up, if only for a minute. Calexico are typically more lively than they are on this acoustic-guitar-and-horns-only track. Where I would normally envision a Calexico song taking place around the Mojave Desert in the middle of summer in the afternoon, this one seems more to take place around dusk, near winter, with holly and ivy growing in place of the cacti.
"I Heard the Bells On Christmas Day" by The Civil Wars: John and Joy turn a solemn Christmas song into a more charming one simply by using their signature harmonies to make the song complete, but the sentiments of requesting peace on Earth and good will to men in a world of cynical people are still there. Accompanied only by acoustic guitar, The Civil Wars show, once again, how their brand of quiet is the new loud, enough to make listeners stop and become entranced by both the mellifluous melodies and universally uplifting utterances of their take on an old Christmas fave.
"It's Beginning to Look A Lot Like Christmas" by Fruit Bats: The formerly cheery Christmas song, "It's Beginning to Look A Lot Like Christmas", gets a makeover from indie-folk-rockers Fruit Bats, with a sound that's halfway between a classic country song and Hawaiian music. Though The Bats have made this song lose some of the pep it once had, it is not completely without its bouncy beat. It's not as though Fruit Bats have added minor chords in place of the major ones, that's still a part of the song in this version. It's beginning to look a lot like Christmas, but more like the kind of Christmas you'd want to spend inside your house, and not outside in a mall.
"O Come, O Come, Emmanuel" by Punch Brothers: An interesting selection for "Holidays Rule", and an even more interesting version! Among the recent "bluegrass-rock" boom, Punch Brothers are probably one of the few (if not the only) band of the bunch that could be considered "progressive bluegrass", since their verses and choruses are often in completely different keys to one another. They continue to demonstrate this oddly amazing talent in their take on "O Come, O Come, Emmanuel", one of those songs that, "keeps the 'Christ' in 'Christmas'", so to speak, as its title and subject matter are both references to Jesus. Punch Brothers do not lose an ounce of reverence in their rendition of "O Come, O Come, Emmanuel", in terms of both vocal and instrumental quality. Perhaps this means that Punch Brothers are "brothers" in more ways than one might expect?!
"Sleigh Ride" by fun.: I have truly underestimated fun. With each song they release, their instrumental talents continue to impress me more and more. With the combination of "modern" instruments (like synths), and more "traditional" ones (like violins and flutes) all set to a giant indie-pop wall of sound, this version of "Sleigh Ride" could have been done by Arcade Fire with the exact same arrangement (but with different vocals, obviously)!! It even dips into psychedelic, echo-y territory a la "Tomorrow Never Knows" by The Beatles towards the end of it! I think fun. are gliding through more than just a wonderland of snow in their version of "Sleigh Ride". They are gliding through a wonderland of SOUND!! Now that's what I call "ear candy"!
"The Christmas Song" by Paul McCartney: Sir Paul must be quite overwhelmed that he is both performing a song AND having a song he originally did covered by someone else ("Wonderful Christmastime") on the same album!! Macca's arrangement of the time-honored Christmas tune that begins with descriptions of "chestnuts roasting on an open fire" and "Jack Frost nipping at your nose" is not a bad one, but a B effort, or perhaps even a C one, in comparison to the Nat King Cole version I'm used to hearing. It must also feel weird for Paul to be the only "classic rock" musician on a record of mostly indie-pop musicians of the '00s and 2010's. Perhaps that's why his efforts feel only so-so on "The Christmas Song", but this IS a song that seems to be good, regardless of who's singing it.
"What Are You Doing New Year's Eve?" by The Head and The Heart: Aside from Andrew Bird's contribution to "Holidays Rule", this is the only post-Christmas December related song on the CD. I realize just now that this is The Head and The Heart's first major song with romantic sentiments attached to it. Their topics previously revolved around homesickness ("Lost In My Mind"), being a world weary traveler ("Down In the Valley"), and speculations about the paranormal ("Ghosts"). So how do The Head and The Heart fare at choosing more personal subject matter into their music?! Quite effectively, if I do say so myself. The song carries a sweet, but not sappy, message of hope to spend New Year's Eve with one's significant other, and is perfect for a cozy, warm, stay-at-home December.
"Wonderful Christmastime" by The Shins: And last, but not least, it's Paul McCartney! Ummm...I mean...The Shins COVERING Paul McCartney! Kind of. James Mercer's love of The Beach Boys is more obvious in this version of McCartney's signature Christmas tune than his love of The Beatles, what the "Good Vibrations"-ish organ to start off the song. The lyrics get either goofed up or added on to at certain parts, so it doesn't exactly feel like a sincere cover, but those who prefer have their holiday tunes sound more psychedelic than plain ol' happy might get a kick out of this version.
Wednesday, June 27, 2012
New songs for June 27th, 2012
here they are:
"Cherokee" by Cat Power: Chan Marshall, better known by her stage name "Cat Power", is a musician whose range of musical experimentation is both as unusual and as memorable as her moniker. Having dabbled in a unique blend of jazz, folk, and rock for her last two albums, Cat Power has now taken on a new musical direction, somewhat reminiscent of Patti Smith's material from the late '70s and '80s. "Cherokee" is a haunting, stark song that also manages to be catchy with a steady drumbeat pulsating in a lively manner through otherwise sad, gloomy instrumentation and yearning, passionate vocals.
"History's Door" by Husky: Contemporary folk-rock quartet Husky manage to stand out among the increasingly large amount of similar sounding bands to themselves in their breakthrough song, "History's Door", though this is primarily through the rhythmic patterns of this song. The first minute or so of "History's Door" is fingerpicked, almost like a pre-rock folk song, but after that minute, the drums and various other background instruments kick in, altering the rhythm slightly and giving the song a bit more of a "rock" flavor (though, again, this is through rhythm, and not through amplification). Another distinguishing factor about Husky (whose lead singer, Husky Gawenda, just happens to be the namesake of the band), is their country of origin. You might think they come from either Britain, Canada, or else some mountainous or forest-y area of the U.S., but they are actually Australian! "History's Door" has become Husky's first big hit for a couple reasons. First off, it was produced by Noah Georgeson (who has also produced music for indie darlings such as Joanna Newsom and Devendra Banhart) in Los Angeles, and not long afterwards, the track was entered into a contest for Aussie radio station station, Triple-J Radio, and it WON!! Talk about your unlikely success stories!
"Jericho" by Rufus Wainwright: Perhaps the song "Out of the Game" was a fluke (albeit a successful one) in the Rufus Wainwright catalog. The George Harrison-esque folk-rock sound of that song provided a contrast between just about every other song Rufus had ever done, and that includes his latest song to get noticed, "Jericho", which marks a return to the folk-meets-cabaret sound he's become known for. Guitar is still present on "Jericho", but it serves as merely a backing instrument here for the most part, in comparison to the pianos, brass instruments, and classical string instruments that dominate the song. Like most of Rufus's songs, "Jericho" has major key verses and a minor key chorus (which resolves back into major shortly afterwards). Not terribly different from most of his material, but the structure of his songs is memorable and lively enough to be charming, and that's what Rufus's fans (including myself) like the most about his music!
"Lay Down" by Alberta Cross: Their name might bring to mind the country of Canada, yet Alberta Cross's best-known song so far is the roots-y, American sounding "Old Man Chicago" (with their second best known one being the defiant, British rock sounding "Money For the Weekend"). So what now for the New York band with a Canadian sounding name?! Well, more British sounding rock, in this case! But more like the sweeping, epic grandeur of songs like Oasis' "Champagne Supernova" this time around than their previous attempt at British influenced rock (the Stones-y "Money For the Weekend"). The similarity between this song and "Champagne Supernova" doesn't end with how dynamic the guitars sound, since even the distortion of the lead guitar here sounds like it was stolen from Noel Gallagher! Thankfully, though, "Lay Down" isn't a "word salad" song like "Champagne Supernova" was. Instead, the lyrics actually mean something here (i.e. "And I'm trying to live my life in a better way").
"One More" by Jimmy Cliff: When American audiences mention the words "reggae" and "legend" in the same sentence, they are probably referring to Bob Marley. They tend to forget there was another reggae musician recording around the same time Marley was that also became successful in the U.S., and that musician was Jimmy Cliff. Save for a cover of The Clash's "The Guns of Brixton" that Cliff did with Rancid's Tim Armstrong last year, Cliff hasn't had a hit song since the 1970's, so I was surprised (but pleasantly so) to hear he was going to come out with a new song! The upbeat, almost party-like nature of "One More" is closer to ska than it is to reggae, but Cliff still manages to deliver a memorable performance on the song, with a sizzling, simmery sound that has come out just in time for all the latest beach parties and pool parties!
"What Makes A Good Man" by The Heavy: "The Heavy" fits the name of this band well, since they have such a dynamic, unforgettable presence in their music! With a sound that combines the blues-y garage rock of The Black Keys with '70s funk music a la Sly and The Family Stone, The Heavy are pretty much MADE of hit-making material for the 2010's!! The song is mostly defined by its simple but catchy chorus ("Tell me now, and show me how, please understand, what makes a good man"!) Not a lot of depth to the lyrics here, but there doesn't have to be, in this case, because the appeal of "What Makes A Good Man" is in the groove and the spirit of the song! So sit back, relax, and stay groovy! Also, to me, the answer to "what makes a good man?" is talent, which The Heavy have plenty of!!
"Cherokee" by Cat Power: Chan Marshall, better known by her stage name "Cat Power", is a musician whose range of musical experimentation is both as unusual and as memorable as her moniker. Having dabbled in a unique blend of jazz, folk, and rock for her last two albums, Cat Power has now taken on a new musical direction, somewhat reminiscent of Patti Smith's material from the late '70s and '80s. "Cherokee" is a haunting, stark song that also manages to be catchy with a steady drumbeat pulsating in a lively manner through otherwise sad, gloomy instrumentation and yearning, passionate vocals.
"History's Door" by Husky: Contemporary folk-rock quartet Husky manage to stand out among the increasingly large amount of similar sounding bands to themselves in their breakthrough song, "History's Door", though this is primarily through the rhythmic patterns of this song. The first minute or so of "History's Door" is fingerpicked, almost like a pre-rock folk song, but after that minute, the drums and various other background instruments kick in, altering the rhythm slightly and giving the song a bit more of a "rock" flavor (though, again, this is through rhythm, and not through amplification). Another distinguishing factor about Husky (whose lead singer, Husky Gawenda, just happens to be the namesake of the band), is their country of origin. You might think they come from either Britain, Canada, or else some mountainous or forest-y area of the U.S., but they are actually Australian! "History's Door" has become Husky's first big hit for a couple reasons. First off, it was produced by Noah Georgeson (who has also produced music for indie darlings such as Joanna Newsom and Devendra Banhart) in Los Angeles, and not long afterwards, the track was entered into a contest for Aussie radio station station, Triple-J Radio, and it WON!! Talk about your unlikely success stories!
"Jericho" by Rufus Wainwright: Perhaps the song "Out of the Game" was a fluke (albeit a successful one) in the Rufus Wainwright catalog. The George Harrison-esque folk-rock sound of that song provided a contrast between just about every other song Rufus had ever done, and that includes his latest song to get noticed, "Jericho", which marks a return to the folk-meets-cabaret sound he's become known for. Guitar is still present on "Jericho", but it serves as merely a backing instrument here for the most part, in comparison to the pianos, brass instruments, and classical string instruments that dominate the song. Like most of Rufus's songs, "Jericho" has major key verses and a minor key chorus (which resolves back into major shortly afterwards). Not terribly different from most of his material, but the structure of his songs is memorable and lively enough to be charming, and that's what Rufus's fans (including myself) like the most about his music!
"Lay Down" by Alberta Cross: Their name might bring to mind the country of Canada, yet Alberta Cross's best-known song so far is the roots-y, American sounding "Old Man Chicago" (with their second best known one being the defiant, British rock sounding "Money For the Weekend"). So what now for the New York band with a Canadian sounding name?! Well, more British sounding rock, in this case! But more like the sweeping, epic grandeur of songs like Oasis' "Champagne Supernova" this time around than their previous attempt at British influenced rock (the Stones-y "Money For the Weekend"). The similarity between this song and "Champagne Supernova" doesn't end with how dynamic the guitars sound, since even the distortion of the lead guitar here sounds like it was stolen from Noel Gallagher! Thankfully, though, "Lay Down" isn't a "word salad" song like "Champagne Supernova" was. Instead, the lyrics actually mean something here (i.e. "And I'm trying to live my life in a better way").
"One More" by Jimmy Cliff: When American audiences mention the words "reggae" and "legend" in the same sentence, they are probably referring to Bob Marley. They tend to forget there was another reggae musician recording around the same time Marley was that also became successful in the U.S., and that musician was Jimmy Cliff. Save for a cover of The Clash's "The Guns of Brixton" that Cliff did with Rancid's Tim Armstrong last year, Cliff hasn't had a hit song since the 1970's, so I was surprised (but pleasantly so) to hear he was going to come out with a new song! The upbeat, almost party-like nature of "One More" is closer to ska than it is to reggae, but Cliff still manages to deliver a memorable performance on the song, with a sizzling, simmery sound that has come out just in time for all the latest beach parties and pool parties!
"What Makes A Good Man" by The Heavy: "The Heavy" fits the name of this band well, since they have such a dynamic, unforgettable presence in their music! With a sound that combines the blues-y garage rock of The Black Keys with '70s funk music a la Sly and The Family Stone, The Heavy are pretty much MADE of hit-making material for the 2010's!! The song is mostly defined by its simple but catchy chorus ("Tell me now, and show me how, please understand, what makes a good man"!) Not a lot of depth to the lyrics here, but there doesn't have to be, in this case, because the appeal of "What Makes A Good Man" is in the groove and the spirit of the song! So sit back, relax, and stay groovy! Also, to me, the answer to "what makes a good man?" is talent, which The Heavy have plenty of!!
Wednesday, March 7, 2012
New songs for March 7th, 2012
here they are:
"Live Your Life" by Yuna: I don't know how many rock/pop musicians hail from Malaysia, but if Yuna's the first, then that's pretty cool! The melodically trip-hop-meets-soft-jazz feel of "Live Your Life" also reminds me of another one-name-only female musician who debuted a little over 5 years ago - Jem. Yet Yuna somehow manages to make this song all her own. It is as smooth as it is catchy. Where most female musicians of the indie-pop world have taken after Fiona Apple or Tori Amos, Yuna takes more after Jem, which is probably a big part of the reason why this song sounds so refreshing and different for a 2010's song. However you slice it, though, "Live Your Life" is still a fun song to listen to!
"Out of the Game" by Rufus Wainwright: I was waiting for Rufus to release something new for quite awhile! And I think now I know why it might have taken him so long to do so. Perhaps he wasn't ready to show the world his transition from cabaret influenced indie-pop to George Harrison influenced neo-folk-rock. Certainly not what I (or, likely, anyone else) was expecting from Rufus, although it kinda makes sense considering that his father was the rather eccentric folk musician Loudon Wainwright III. Perhaps Rufus is trying to connect more musically with his dad on "Out of the Game". There's a touch of the old Rufus Wainwright in this song, though, in that he transitions from major to minor chords between the verses and chorus. Yeah, as the song suggests, Rufus might be "out of the game" with many of his main audience members by now, but it's still good to know he's still makin' music!
"This Isn't Everything You Are" by Snow Patrol: Sometimes Snow Patrol are written off as a "poor man's Coldplay", though it SHOULD be the other way around! After all, Snow Patrol are sometimes capable of churning out some solid rockers in their library ("Hands Open", "Take Back the City", "You're All I Have", and most recently, "Called Out In the Dark", to name a few). This time around, though, Gary Lightbody and co are turning towards the ballad side once again, which can bring out both the best (the extraordinarily poignant and ethereal "An Olive Grove Facing the Sea") and worst (the overplayed "Chasing Cars" and dull "Crack the Shutters") in the band. "This Isn't Everything You Are" seems to show some strength in terms of Snow Patrol's "ballad" side (though it has practically the same chords as the verses of Matchbox 20's "Long Day"). The emotional quality of "This Isn't Everything You Are" really DOES tug at the ol' heartstrings for me. It doesn't feel like just another attempt to earn a radio hit through balladry. Both Gary Lightbody's winsome vocals and the delicate nature of the song itself give "This Isn't Everything You Are" a rather aching, yearning feel. For a band best known for their "softer" side, Snow Patrol is truly one of the best, and this song continues to prove so!
"Live Your Life" by Yuna: I don't know how many rock/pop musicians hail from Malaysia, but if Yuna's the first, then that's pretty cool! The melodically trip-hop-meets-soft-jazz feel of "Live Your Life" also reminds me of another one-name-only female musician who debuted a little over 5 years ago - Jem. Yet Yuna somehow manages to make this song all her own. It is as smooth as it is catchy. Where most female musicians of the indie-pop world have taken after Fiona Apple or Tori Amos, Yuna takes more after Jem, which is probably a big part of the reason why this song sounds so refreshing and different for a 2010's song. However you slice it, though, "Live Your Life" is still a fun song to listen to!
"Out of the Game" by Rufus Wainwright: I was waiting for Rufus to release something new for quite awhile! And I think now I know why it might have taken him so long to do so. Perhaps he wasn't ready to show the world his transition from cabaret influenced indie-pop to George Harrison influenced neo-folk-rock. Certainly not what I (or, likely, anyone else) was expecting from Rufus, although it kinda makes sense considering that his father was the rather eccentric folk musician Loudon Wainwright III. Perhaps Rufus is trying to connect more musically with his dad on "Out of the Game". There's a touch of the old Rufus Wainwright in this song, though, in that he transitions from major to minor chords between the verses and chorus. Yeah, as the song suggests, Rufus might be "out of the game" with many of his main audience members by now, but it's still good to know he's still makin' music!
"This Isn't Everything You Are" by Snow Patrol: Sometimes Snow Patrol are written off as a "poor man's Coldplay", though it SHOULD be the other way around! After all, Snow Patrol are sometimes capable of churning out some solid rockers in their library ("Hands Open", "Take Back the City", "You're All I Have", and most recently, "Called Out In the Dark", to name a few). This time around, though, Gary Lightbody and co are turning towards the ballad side once again, which can bring out both the best (the extraordinarily poignant and ethereal "An Olive Grove Facing the Sea") and worst (the overplayed "Chasing Cars" and dull "Crack the Shutters") in the band. "This Isn't Everything You Are" seems to show some strength in terms of Snow Patrol's "ballad" side (though it has practically the same chords as the verses of Matchbox 20's "Long Day"). The emotional quality of "This Isn't Everything You Are" really DOES tug at the ol' heartstrings for me. It doesn't feel like just another attempt to earn a radio hit through balladry. Both Gary Lightbody's winsome vocals and the delicate nature of the song itself give "This Isn't Everything You Are" a rather aching, yearning feel. For a band best known for their "softer" side, Snow Patrol is truly one of the best, and this song continues to prove so!
Wednesday, February 29, 2012
Leap Year Blog Post?!?
That's right!!! So, to make this more "special", here's a "leap" ahead as to four songs that I will be likely to review within the next month or so:
1. "Can't Find" by Eddie Vedder
2. "Don't Leave Me INe Me Quitte Pas)" by Regina Spektor
3. "Out of the Game" by Rufus Wainwright
4. "This Isn't Everything You Are" by Snow Patrol
And now, on with the REAL show...
“On the Run” by Kaiser Chiefs: I’ll admit, I didn’t think much of Kaiser Chiefs when they debuted in the mid 2000’s with the Knack-ish power pop song “I Predict A Riot”, but they grew on me. “Ruby” is one of the sunniest slices of alt-pop I’ve ever heard, and “Never Miss A Beat” is quite a catchy tune as well. “On the Run” has a bit of a darker tone than the Chiefs’ previous songs, but, like most of their songs, it has memorable moments. The fragmented synthesizer sound of “On the Run” pretty much defines the song, and it has a somewhat danceable rhythm (though not as much as their previous three hits). Paul McCartney was one of the first famous people I knew of to praise the music of The Kaiser Chiefs, and it’s no wonder, really, as both McCartney and Kaiser Chiefs are British rock musicians known for their melodic but irresistibly rhythmic music. “On the Run” doesn’t seem like it has the same sort of sound that McCartney would favor, but what can I say, sometimes bands need room to grow, and Kaiser Chiefs seem like the type of band who would benefit from doing so.
“Primitive Girl” by M. Ward: It’s only two minutes and twenty seconds, but Zooey Deschanel’s backing man from She & Him churns out a charming piano-rocker with “Primitive Girl”. Ward’s material is usually rawer (though still kinda folk-y) and more guitar focused than how he comes off as on “Primitive Girl”, so he almost comes off sounding (musically) more like Zooey than himself! Aptly enough, “Primitive Girl” SOUNDS primitive, with its repetitive note sequences, starkly arranged instrumentation, and small amount of words. Ward’s fans were probably expecting more from him than this, but songs like “Primitive Girl” are among the best kind of indie songs – the cute kind!
“Temporary” by White Rabbits: Despite the name of this band, White Rabbits have little (if anything) to do with Jefferson Airplane. Their sound is a lot more contemporary than that, and comparable to bands like Phoenix, Vampire Weekend, TV on the Radio, and Modest Mouse, all of whom are far more influenced by new wave and post-punk than psychedelic. Unlike most of the songs I review, it’s hard to tell where the guitar is in this song (until the solo), yet it’s quite easy to tell where the bass is throughout the song, as the bass (and synthesizer) serve as the dominant instruments in “Temporary”. In contrast to the thumping bass-and-synth sound of the song, the vocals in “Temporary” are more wry and detached, the combination of which comes off sounding a bit like The Cars crossed with Radiohead, with a techno influence added in as well. In addition, the cover of White Rabbits’ latest album alone gives hints as to how off-the-wall their sensibilities can be. On it, their name is written backwards, the album title is written like an all black Jackson Pollock work of art, and even the title of the album itself (Milk Famous), sounds bizarre and enigmatic.
“That Dangerous Age” by Paul Weller: Paul Weller was once the frontman of the heavily Kinks-influenced British punk group, The Jam (fans of the movie “Stranger Than Fiction” would probably be familiar with their sarcastic “ballad”, “That’s Entertainment”). Since splitting apart from The Jam, Paul has released a couple of solo albums, but so far, no songs from any of those albums have gotten near as much attention as his latest song, “That Dangerous Age”. This time around, though, Ray Davies is not the British rocker Paul Weller is trying to imitate, but instead, the sleek disco-meets-punk type sound David Bowie had in the middle of his career! I have yet to figure out what “dangerous age” Weller is referring to, but at this point, it doesn’t matter, because the song is already catchy enough!! What an awesome comeback!
“When the Ship Comes In” by The Chieftains and The Decemberists: This song is pretty much folk-rock all over the place, but in varying styles! It is a cover of a song by folk-rocker master Bob Dylan, with instrumentation by Irish folk group The Chieftains, and vocals from contemporary folk-rockers The Decemberists! Of course, this being a cover of a Dylan song, the lyrics have a very folk-y feel to them, too, but more in a sea shanty kind of way, with all of its maritime imagery (seagulls, shorelines, sand, ships, etc.) It’s not a very somber song, either, in fact it has a rather jolly, upbeat sound to it, in a way that might create mental imagery of what it would be like if “Riverdance” met “Spongebob Squarepants”. The Decemberists spinning tales from the briny deep?! Hasn’t happened before, but so far, I really like it!
1. "Can't Find" by Eddie Vedder
2. "Don't Leave Me INe Me Quitte Pas)" by Regina Spektor
3. "Out of the Game" by Rufus Wainwright
4. "This Isn't Everything You Are" by Snow Patrol
And now, on with the REAL show...
“On the Run” by Kaiser Chiefs: I’ll admit, I didn’t think much of Kaiser Chiefs when they debuted in the mid 2000’s with the Knack-ish power pop song “I Predict A Riot”, but they grew on me. “Ruby” is one of the sunniest slices of alt-pop I’ve ever heard, and “Never Miss A Beat” is quite a catchy tune as well. “On the Run” has a bit of a darker tone than the Chiefs’ previous songs, but, like most of their songs, it has memorable moments. The fragmented synthesizer sound of “On the Run” pretty much defines the song, and it has a somewhat danceable rhythm (though not as much as their previous three hits). Paul McCartney was one of the first famous people I knew of to praise the music of The Kaiser Chiefs, and it’s no wonder, really, as both McCartney and Kaiser Chiefs are British rock musicians known for their melodic but irresistibly rhythmic music. “On the Run” doesn’t seem like it has the same sort of sound that McCartney would favor, but what can I say, sometimes bands need room to grow, and Kaiser Chiefs seem like the type of band who would benefit from doing so.
“Primitive Girl” by M. Ward: It’s only two minutes and twenty seconds, but Zooey Deschanel’s backing man from She & Him churns out a charming piano-rocker with “Primitive Girl”. Ward’s material is usually rawer (though still kinda folk-y) and more guitar focused than how he comes off as on “Primitive Girl”, so he almost comes off sounding (musically) more like Zooey than himself! Aptly enough, “Primitive Girl” SOUNDS primitive, with its repetitive note sequences, starkly arranged instrumentation, and small amount of words. Ward’s fans were probably expecting more from him than this, but songs like “Primitive Girl” are among the best kind of indie songs – the cute kind!
“Temporary” by White Rabbits: Despite the name of this band, White Rabbits have little (if anything) to do with Jefferson Airplane. Their sound is a lot more contemporary than that, and comparable to bands like Phoenix, Vampire Weekend, TV on the Radio, and Modest Mouse, all of whom are far more influenced by new wave and post-punk than psychedelic. Unlike most of the songs I review, it’s hard to tell where the guitar is in this song (until the solo), yet it’s quite easy to tell where the bass is throughout the song, as the bass (and synthesizer) serve as the dominant instruments in “Temporary”. In contrast to the thumping bass-and-synth sound of the song, the vocals in “Temporary” are more wry and detached, the combination of which comes off sounding a bit like The Cars crossed with Radiohead, with a techno influence added in as well. In addition, the cover of White Rabbits’ latest album alone gives hints as to how off-the-wall their sensibilities can be. On it, their name is written backwards, the album title is written like an all black Jackson Pollock work of art, and even the title of the album itself (Milk Famous), sounds bizarre and enigmatic.
“That Dangerous Age” by Paul Weller: Paul Weller was once the frontman of the heavily Kinks-influenced British punk group, The Jam (fans of the movie “Stranger Than Fiction” would probably be familiar with their sarcastic “ballad”, “That’s Entertainment”). Since splitting apart from The Jam, Paul has released a couple of solo albums, but so far, no songs from any of those albums have gotten near as much attention as his latest song, “That Dangerous Age”. This time around, though, Ray Davies is not the British rocker Paul Weller is trying to imitate, but instead, the sleek disco-meets-punk type sound David Bowie had in the middle of his career! I have yet to figure out what “dangerous age” Weller is referring to, but at this point, it doesn’t matter, because the song is already catchy enough!! What an awesome comeback!
“When the Ship Comes In” by The Chieftains and The Decemberists: This song is pretty much folk-rock all over the place, but in varying styles! It is a cover of a song by folk-rocker master Bob Dylan, with instrumentation by Irish folk group The Chieftains, and vocals from contemporary folk-rockers The Decemberists! Of course, this being a cover of a Dylan song, the lyrics have a very folk-y feel to them, too, but more in a sea shanty kind of way, with all of its maritime imagery (seagulls, shorelines, sand, ships, etc.) It’s not a very somber song, either, in fact it has a rather jolly, upbeat sound to it, in a way that might create mental imagery of what it would be like if “Riverdance” met “Spongebob Squarepants”. The Decemberists spinning tales from the briny deep?! Hasn’t happened before, but so far, I really like it!
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