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.
Showing posts with label The Dunwells. Show all posts
Showing posts with label The Dunwells. Show all posts
Wednesday, February 13, 2013
Wednesday, November 14, 2012
13 Songs On A Dead Man's Chest (A.K.A. Flood of Songs After the Drought)
THIRTEEN!? Most I've ever had so far!! So, without further ado, let's begin!!
"Carry On" by fun.: "If you're lost and alone, and sinking like a stone, carry o-o-o-o-on!!" So begins the chorus of the latest song from the somewhat aptly named band, fun. This is probably their most sensitive, most melodic song yet, and for that reason, I can't help but like it! Though the song itself is kinda dark in terms of its lyrics, it still has quite an uplifting, almost inspirational chorus, reminding its listeners to stay strong through the good times and the bad. Nate Ruess and co sure have come a long way since the far more pop-y "We Are Young", and I hope they will continue to strengthen their sound and their lyrics in the future!
"Encyclopedia of Classic Takedowns" by A.C. Newman: The New Pornographers were always a quirky band, in spite of how their name might sound (it was actually taken from something someone said about how music is the "new pornography"). That being said, it only makes sense that their lead singer would come up with a song where even the TITLE sounded quirky! I mean, how many songs do you know of have titles that even sound CLOSE to "Encyclopedia of Classic Takedowns" (try saying THAT five times fast!)?! I sure don't! (Then again, this IS the same guy who came up with even weirder song titles like "Sing Me Spanish Techno"). The song itself is quirky, power pop-y fun at its best! A happy song with bubbly harmonies and a weird title?! Only A.C. and The New Pornographers!!
"Good Times" by Matt Costa: Matt Costa doesn't seem to get enough credit for how eclectic (and clever) he truly is! He seemed to have been pegged as a singer/songwriter type based on how his debut song, "Cold December" sounded, but he has expanded his repertoire ever since to include Donovan-esque psychedelic pop ("Witchcraft") and "Pet Sounds"-ish orchestral beauties ("Drive"). His latest song, "Good Times", takes on a sound that illustrates a combination of folk-rock guitars and triumphant trumpets, a bit like Feist's "1234", as well as practically any song from Edward Sharpe and The Magnetic Zeros. Don't be fooled by how happy "Good Times" sounds, though, as even its chorus sings about how "Good times are comin' to an end". The dichotomy "Good Times" has between its fluffy sound and cynical lyrics only make me love the song more, though!
"Harder Before It Gets Easier" by The David Wax Museum: With the surprise success of records from people like Paul Simon and Robbie Robertson last year, it only makes sense that there would be someone this year that would carry on the rock-music-meets-world-music torch. It's not an older musician, though, or even a well-known one, at that. This year's ethnic rock experience comes from The David Wax Museum, a band that is, perhaps, unlike any other from 2012! Instead of relying on folk-rock or power pop, like most 2010's bands seem to do, The David Wax Museum create a lush musical soundscape based on African rhythms and mariachi instrumentation. To top it all off, at the center of the DWM's breakthrough song, "Harder Before It Gets Easier", is its chorus, which reminds people that sometimes you need to experience tougher times in your life in order to get to what you really want!
"Heartbeat" by The Kopecky Family Band: Of the many bands I'm reviewing this week, none of them seem to put the "pop" in "indie pop" quite like The Kopecky Family Band! Their debut song, "Heartbeat", has it all! Irresistibly bubblegum-y harmonies, handclaps at the beginning, a catchy, memorable chorus, purposely ridiculous lyrics (e.g. "you make my heartbeat beat a beat"), you name it! "Heartbeat" is the perfect song to dance around in your room to when no one's watching!
"How Do You Ruin Me?" by Black Prairie: And now we move from a goofy, lighthearted band to a more somber one. Even this song's title, "How Do You Ruin Me?" sounds melancholy, and the song itself is, too. With its sighing string section, G minor key, and world-weary vocals, "How Do You Ruin Me?" is one of those songs you'd want to put on during a rainy day to elicit emotions of both sadness and sympathy. It is a tale of unrequited love that expresses the pain and sorrow we probably all feel inside when going through such a phase. Call it a case of schadenfreude if you will, but what is "ruining" the singer brings me a sense of pleasure, but the pleasure derives from knowing that I'm not the only one who has felt cheated or let down in a relationship.
"I've Got This Friend" by The Civil Wars: It's been over a year since John Paul Williams and Joy White first became successful as folk-pop duo, The Civil Wars, yet there is still one song from their debut album that has JUST begun to receive airplay on adult alt radio stations, and that song is "I've Got This Friend". "I've Got This Friend" provides quite a contrast from the blues-y stomp of "Barton Hollow" and the bittersweet "Poison And Wine". There is nothing very bitter, or even bittersweet, about "I've Got This Friend", in fact it's kind of a cute song, if I dare say so! John and Joy take turns telling each other about these "friends" that they have during the song, though, upon listening to the lyrics, it becomes apparent that John and Joy are actually telling each other about...well...each other! However, they are doing so in a way that suggest a precious, almost naive sense of romance. Can I have another "d'awwww"?!
"Mojo Fix" by Martin Harley: A "review-come-lately" here, as this song has been around since late August of this year, but it doesn't seem like it's gotten decent airplay until around the past couple of weeks, so I thought maybe now would be a good time to review it instead. On with the song, though, doesn't even the title of the song "Mojo Fix" sound kinda blues-y?! Well, that's because it is, and a mighty fine blues song at that! With its chugging hook, raw vocals, and saucy slide guitar licks, "Mojo Fix" is enough to satisfy anyone's mojo!!
"Nancy From Now On" by Father John Misty: You probably wouldn't expect such a downhearted song from a guy with a quirky moniker, who put out esoteric songs like "I'm Writing A Novel", but keep in mind that "Father John Misty" is actually the alias of the ex-drummer of melancholy folk-rock kings, Fleet Foxes, and "Nancy From Now On" will probably make a little more sense. Even the opening lyrics, "Pour me another drink, and punch me in the face" are enough to depress a lot of Misty's listeners. "Nancy" is also not the name of a girl in this song, but rather, a derogatory name that Misty uses to refer to himself, perhaps suggesting that he is "weak" in some way. The chord changes and piano arrangement in this song remind me of people like Rufus Wainwright. Perhaps Rufus and Father John are pals?! Wouldn't surprise me. Also, I detect a huge Harry Nilsson influence in this song, so to describe Misty as the lovechild of Nilsson and Rufus Wainwright would be a great way of summing him up!
"River" by Civil Twilight: As I read the comments for this song on YouTube, many people seem to think that this sounds like a Radiohead song, and it does (it lifts pretty heavily from "Jigsaw Falling Into Place", in particular). Though "River" will never hold a candle to Radiohead, it's still a good song in its own right! It is probably Civil Twilight's best song, actually, given how it centers mostly around acoustic guitar instead of keyboards, the latter of which is a more typical instrument for Civil Twilight. The lead singer of Civil Twilight tends to nail Thom Yorke's vocal intonations, and the swooning backing vocals wouldn't sound too out of place in a Radiohead song either. However, this is Civil Twilight, not Radiohead. Still, it wouldn't hurt Civil Twilight to continue going in a neo-folk-rock direction!
"So Beautiful" by The Dunwells: Along with the Martin Harley song, "Mojo Fix", this song is another "review-come-lately" for me, I guess partly because this song pales in comparison quite significantly to The Dunwells' Mumford-esque song, "I Could Be A King", from earlier this year. However, I decided to give "So Beautiful" another chance, and I'm glad I did, because, although it isn't nearly as good as "I Could Be A King", it is still a good song, and it stuck in my head after the second time I heard it, so I knew it was a good one. It still has a somewhat Mumford-and-Sons-ish sound, but it sounds more like M & S being backed by the '70s soft rock group, America (the solos in the song sound like they were performed in a similar distortion to America's "Sister Golden Hair"). Still worth listening to, though.
"Time to Run" by Lord Huron: And last, but certainly not least, is the hypnotically folk-rock-y "Time to Run", from Lord Huron, a band who are slowly but surely getting more attention than I thought they would! This song is like a dream to me, and I don't mean that in a corny, metaphorical way. I mean that it's literally like a dream! It starts off with an orchestra of echoing wind chime type percussion that goes on for about a minute, before settling into its mellow, entrancing groove that takes hold of the rest of the song, as though one is falling asleep, and then settling into his/her dream for the rest of the night. This song is one dream I don't want to wake up from!!
"Carry On" by fun.: "If you're lost and alone, and sinking like a stone, carry o-o-o-o-on!!" So begins the chorus of the latest song from the somewhat aptly named band, fun. This is probably their most sensitive, most melodic song yet, and for that reason, I can't help but like it! Though the song itself is kinda dark in terms of its lyrics, it still has quite an uplifting, almost inspirational chorus, reminding its listeners to stay strong through the good times and the bad. Nate Ruess and co sure have come a long way since the far more pop-y "We Are Young", and I hope they will continue to strengthen their sound and their lyrics in the future!
"Encyclopedia of Classic Takedowns" by A.C. Newman: The New Pornographers were always a quirky band, in spite of how their name might sound (it was actually taken from something someone said about how music is the "new pornography"). That being said, it only makes sense that their lead singer would come up with a song where even the TITLE sounded quirky! I mean, how many songs do you know of have titles that even sound CLOSE to "Encyclopedia of Classic Takedowns" (try saying THAT five times fast!)?! I sure don't! (Then again, this IS the same guy who came up with even weirder song titles like "Sing Me Spanish Techno"). The song itself is quirky, power pop-y fun at its best! A happy song with bubbly harmonies and a weird title?! Only A.C. and The New Pornographers!!
"Good Times" by Matt Costa: Matt Costa doesn't seem to get enough credit for how eclectic (and clever) he truly is! He seemed to have been pegged as a singer/songwriter type based on how his debut song, "Cold December" sounded, but he has expanded his repertoire ever since to include Donovan-esque psychedelic pop ("Witchcraft") and "Pet Sounds"-ish orchestral beauties ("Drive"). His latest song, "Good Times", takes on a sound that illustrates a combination of folk-rock guitars and triumphant trumpets, a bit like Feist's "1234", as well as practically any song from Edward Sharpe and The Magnetic Zeros. Don't be fooled by how happy "Good Times" sounds, though, as even its chorus sings about how "Good times are comin' to an end". The dichotomy "Good Times" has between its fluffy sound and cynical lyrics only make me love the song more, though!
"Harder Before It Gets Easier" by The David Wax Museum: With the surprise success of records from people like Paul Simon and Robbie Robertson last year, it only makes sense that there would be someone this year that would carry on the rock-music-meets-world-music torch. It's not an older musician, though, or even a well-known one, at that. This year's ethnic rock experience comes from The David Wax Museum, a band that is, perhaps, unlike any other from 2012! Instead of relying on folk-rock or power pop, like most 2010's bands seem to do, The David Wax Museum create a lush musical soundscape based on African rhythms and mariachi instrumentation. To top it all off, at the center of the DWM's breakthrough song, "Harder Before It Gets Easier", is its chorus, which reminds people that sometimes you need to experience tougher times in your life in order to get to what you really want!
"Heartbeat" by The Kopecky Family Band: Of the many bands I'm reviewing this week, none of them seem to put the "pop" in "indie pop" quite like The Kopecky Family Band! Their debut song, "Heartbeat", has it all! Irresistibly bubblegum-y harmonies, handclaps at the beginning, a catchy, memorable chorus, purposely ridiculous lyrics (e.g. "you make my heartbeat beat a beat"), you name it! "Heartbeat" is the perfect song to dance around in your room to when no one's watching!
"How Do You Ruin Me?" by Black Prairie: And now we move from a goofy, lighthearted band to a more somber one. Even this song's title, "How Do You Ruin Me?" sounds melancholy, and the song itself is, too. With its sighing string section, G minor key, and world-weary vocals, "How Do You Ruin Me?" is one of those songs you'd want to put on during a rainy day to elicit emotions of both sadness and sympathy. It is a tale of unrequited love that expresses the pain and sorrow we probably all feel inside when going through such a phase. Call it a case of schadenfreude if you will, but what is "ruining" the singer brings me a sense of pleasure, but the pleasure derives from knowing that I'm not the only one who has felt cheated or let down in a relationship.
"I've Got This Friend" by The Civil Wars: It's been over a year since John Paul Williams and Joy White first became successful as folk-pop duo, The Civil Wars, yet there is still one song from their debut album that has JUST begun to receive airplay on adult alt radio stations, and that song is "I've Got This Friend". "I've Got This Friend" provides quite a contrast from the blues-y stomp of "Barton Hollow" and the bittersweet "Poison And Wine". There is nothing very bitter, or even bittersweet, about "I've Got This Friend", in fact it's kind of a cute song, if I dare say so! John and Joy take turns telling each other about these "friends" that they have during the song, though, upon listening to the lyrics, it becomes apparent that John and Joy are actually telling each other about...well...each other! However, they are doing so in a way that suggest a precious, almost naive sense of romance. Can I have another "d'awwww"?!
"Mojo Fix" by Martin Harley: A "review-come-lately" here, as this song has been around since late August of this year, but it doesn't seem like it's gotten decent airplay until around the past couple of weeks, so I thought maybe now would be a good time to review it instead. On with the song, though, doesn't even the title of the song "Mojo Fix" sound kinda blues-y?! Well, that's because it is, and a mighty fine blues song at that! With its chugging hook, raw vocals, and saucy slide guitar licks, "Mojo Fix" is enough to satisfy anyone's mojo!!
"Nancy From Now On" by Father John Misty: You probably wouldn't expect such a downhearted song from a guy with a quirky moniker, who put out esoteric songs like "I'm Writing A Novel", but keep in mind that "Father John Misty" is actually the alias of the ex-drummer of melancholy folk-rock kings, Fleet Foxes, and "Nancy From Now On" will probably make a little more sense. Even the opening lyrics, "Pour me another drink, and punch me in the face" are enough to depress a lot of Misty's listeners. "Nancy" is also not the name of a girl in this song, but rather, a derogatory name that Misty uses to refer to himself, perhaps suggesting that he is "weak" in some way. The chord changes and piano arrangement in this song remind me of people like Rufus Wainwright. Perhaps Rufus and Father John are pals?! Wouldn't surprise me. Also, I detect a huge Harry Nilsson influence in this song, so to describe Misty as the lovechild of Nilsson and Rufus Wainwright would be a great way of summing him up!
"River" by Civil Twilight: As I read the comments for this song on YouTube, many people seem to think that this sounds like a Radiohead song, and it does (it lifts pretty heavily from "Jigsaw Falling Into Place", in particular). Though "River" will never hold a candle to Radiohead, it's still a good song in its own right! It is probably Civil Twilight's best song, actually, given how it centers mostly around acoustic guitar instead of keyboards, the latter of which is a more typical instrument for Civil Twilight. The lead singer of Civil Twilight tends to nail Thom Yorke's vocal intonations, and the swooning backing vocals wouldn't sound too out of place in a Radiohead song either. However, this is Civil Twilight, not Radiohead. Still, it wouldn't hurt Civil Twilight to continue going in a neo-folk-rock direction!
"So Beautiful" by The Dunwells: Along with the Martin Harley song, "Mojo Fix", this song is another "review-come-lately" for me, I guess partly because this song pales in comparison quite significantly to The Dunwells' Mumford-esque song, "I Could Be A King", from earlier this year. However, I decided to give "So Beautiful" another chance, and I'm glad I did, because, although it isn't nearly as good as "I Could Be A King", it is still a good song, and it stuck in my head after the second time I heard it, so I knew it was a good one. It still has a somewhat Mumford-and-Sons-ish sound, but it sounds more like M & S being backed by the '70s soft rock group, America (the solos in the song sound like they were performed in a similar distortion to America's "Sister Golden Hair"). Still worth listening to, though.
"Time to Run" by Lord Huron: And last, but certainly not least, is the hypnotically folk-rock-y "Time to Run", from Lord Huron, a band who are slowly but surely getting more attention than I thought they would! This song is like a dream to me, and I don't mean that in a corny, metaphorical way. I mean that it's literally like a dream! It starts off with an orchestra of echoing wind chime type percussion that goes on for about a minute, before settling into its mellow, entrancing groove that takes hold of the rest of the song, as though one is falling asleep, and then settling into his/her dream for the rest of the night. This song is one dream I don't want to wake up from!!
Wednesday, January 25, 2012
Eleven songs!!! (For the first time in over a year!!)
How exciting!!! Who knew this many songs would come up during the first half of 2012?!? Well, I'm sure glad they did!! Anyway, here they are:
“California” by Delta Spirit: Well, at least I THOUGHT this was Delta Spirit. Sounds more like the latest Killers song, though. Is it really such a bad move for the typically Springsteen-goes-indie sound of Delta Spirit to suddenly veer towards a more new wave-y sound?! Well, yes and no. I personally think Delta Spirit should have stuck to their usual sound because it just suits them better! However, The Deltas were probably thinking ahead when they made this song in terms of wanting to gain a larger audience. The songs “Bushwick Blues” and “Golden State” from their last album, “History From Below” seemed to get Delta Spirit more of a taste of the limelight than anything from their debut album, “Ode to Sunshine”, so if they’re doing a flashy song with dueling synths and guitars like “California”, it’s probably because they enjoyed the surprise success of their last album and they want to move forward from there! I like “California”, but it’s also a disappointment in comparison to the other Delta Spirit songs I know.
“Caught Me Thinking” by Bahamas: Before “Caught Me Thinking”, all I knew from Bahamas was a cover of the lone Christmas song from folk-rock legends, The Band, “Christmas Must Be Tonight”. That being said, I was curious to know what Bahamas sounded like otherwise. Turns out their sound (at least for “Caught Me Thinking”) is very similar to their name, in that the smooth vibe of the song, combined with the echo-y distortion of its electric guitar, evoke a pleasantly “island-y” image, much like the actual island of Bahamas would. The mellow surf-rock feel of “Caught Me Thinking” provides perfect juxtaposition for its break-up-song lyrics, and it also seems as though the lead singer of Bahamas is trying to trick us with the title of the song, which is not mentioned, and instead, the words “GOT me thinking” are sung in the chorus. The title is not a mistake, though, it has been listed as “Caught Me Thinking”, and not “Got Me Thinking” everywhere I’ve seen it posted, which is in quite a few places by now.
“Downward Facing Dog” by moe.: This song is a long overdue release that has been on the adult alt radio airwaves since November, but sadly, I wasn’t able to find a decent copy of it until last week! It’s a good song, though. It also makes me curious to know if every underrated “jam band” besides Phish needs to go for a somewhat ‘70s hard-rock-ish sound in order to make their big breakthrough as musicians. Widespread Panic’s “North” sounded like Lynyrd Skynyrd, and it has been their biggest hit so far, and Umphrey’s McGee’s “Miami Virtue” had a Pink Floyd/Rush type sound and has been their only song CLOSE to a hit so far! “Downward Facing Dog” is the closest that the jam band formerly known as Five Guys Named Moe has gotten to a “classic rock” sound, specifically recalling the Southern blues-y rock sounds of bands such as ZZ Top and The Black Crowes. Moe. are usually a jazzier, more freeform band than how they come off as on “Downward Facing Dog”. Another aspect that makes this song interesting is that it slows down its tempo in the middle. “Downward Facing Dog” is a good song, I just wish that “jam bands” like moe. could be accepted more as jam bands than as “classic rock revival” bands.
“Easy Come, Easy Go” by Great Lake Swimmers: Great Lake Swimmers have been a fave among indie fans for quite awhile now. “Easy Come, Easy Go” marks the first time that The Swimmers have finally gotten noticed (slightly) beyond their core audience! It doesn’t seem too different than the typical indie song, though. That, however, is a GOOD thing for bands that were previously relative unknowns like Great Lake Swimmers, in that, instead of compromising their sound to reach a more “mainstream” audience, they have kept it just the way it is! The acoustic guitars, violins, and soothing vocals create a dreamy atmosphere surrounding “Easy Come, Easy Go”. A combination like that is already enough to win me over, but the fact that Great Lake Swimmers are staying loyal to their fanbase in terms of their sound earns “Easy Come, Easy Go” an extra bonus point!
“Eyeoneye” by Andrew Bird: Andrew Bird has always been somewhat of an oddity, even in the indie rock world! For starters, his song titles are…well…different, to say the least. His most popular song so far, “Fitz and The Dizzyspells” sounds more like the name of a band than the name of a song, andthetitletohislatestsonghasthewordsallsmooshedtogetherintoonewordaswell. He also uses unusual instrumentation, like violins (which take on a quality all their own in his songs), and pretty much every Andrew Bird song features him whistling. “Eyeoneye” is just one more touch of weirdness in the Andrew Bird catalog, in which he seems to be attempting his own version of punk rock (which comes out sounding a bit like a cross between The Velvet Underground and the ‘60s psychedelic rock group, Love). Not only are the guitars (slightly) amped up on “Eyeoneye”, but so is the angst of the lyrics (opening with a snide, sarcastic, “Go ahead and congratulate yourself”), and the way they are delivered. “Eyeoneye” might not sit quite comfortably with most Andrew Bird fans, but it’s fine with me. Andrew Bird is just one of those musicians who does what he does, and manages to sound good no matter what!
“Hurry Hurry” by Jessie Baylin: “Hurry Hurry” is one of those songs that sounds a lot older than it actually is! It comes off like somewhat of a “sequel” to old bossa nova songs like “The Girl From Ipanema”, and Jessie Baylin’s smooth, billowy, yearning vocals only add to the nostalgia factor of this song! I was expecting a folk-rock or singer/songwriter influenced sound to this song, but instead I got a cross between bossa nova and the female equivalent to “vocal” singers like Frank Sinatra and Tony Bennett. This wasn’t a letdown for me, though, in fact, quite the opposite! Seems like the type of song that might be on during a romantic, candle-lit dinner. Didn’t think I was going to hear anything like that during the 21st century, but something in me tells me it’s a good thing I did!
“I Could Be A King” by The Dunwells: What if Mumford and Sons decided to cover The Sundays’ bittersweet alt-pop classic, “Here’s Where the Story Ends”? Well, it would probably end up sounding a lot like “I Could Be A King”, the first major song from neo-folk-rockers The Dunwells. It uses the same uniquely styled “G” chord that “Here’s Where the Story Ends” used, yet the bluegrass-y sound of the guitar and banjo, as well as the low yet reedy vocals of the lead singer both bring to mind bands like Mumford and Sons. “I Could Be A King” sounds like a song that is as yearning as it is playful, and the lyrics to the song, in which the singer fantasizes about being a king, a poet, and a superhero, among other things, seem to justify that it is both a quirky and poetic song. That being said, this song is an instant winner for me!
“Jealous Girl” by Ben Kweller: In “Jealous Girl”, Ben Kweller sticks to the music he does best, melodic, somewhat Beatlesque power pop with angst-ridden lyrics on the side. Though the title alone to this song indicates negativity, Ben is clever enough here to disguise it as a high-spirited, happy pop song. The backing “ooh-ooh” vocals, the bright piano sound, the song’s major key, and even Ben’s intentional stuttering on the letter “J” in the word “jealous” all help to make “Jealous Girl” seem like it came straight out of the British Invasion (even though Ben Kweller is actually American). This song seems like it would make the perfect song to listen to in the spring and/or summertime, so why Ben chose to release it during winter is beyond me. I’m so glad he did, though!
“Moonshine” by My Pet Dragon: The name of this band alone was enough to tell me this song was probably pretty cool!! I mean, it sounds like the name of some obscure children’s book (and it very well could have been – the indie group Tilly and The Wall named themselves after a children’s book by Leo Lionni). “Moonshine” is a pretty cool song, just like I thought it would be! Of course, that’s not just because the name of the band that did it is called “My Pet Dragon”. It’s also because of the melodic vocals of the lead singer and the shimmering, glistening sound of the guitar! The title of the song might sound like something pretty, but don’t be fooled. The “moonshine” in this song is actually the name of an alcoholic beverage. Still, that doesn’t prevent me from thinking about how truly awesome this song is!
“Strike the Motion” by Mike Doughty: Perhaps I shouldn’t be too surprised that this is a somewhat rockin’ song (albeit with acoustic guitars as the main instrument) by the typically folk-y Mike Doughty, since he started out in the alternative rock outfit, Soul Coughing, but this sounds like a fast paced and somewhat angst-y song for Mike! It still retains the typical Doughty-isms, like odd but clever wordplay (take, for instance, the assonance used in the ending lyrics, “ferocious commotion, you choked, you got lockjaw”), but even that sounds scathing coming from the normally composed Doughty (notice I utilized the same technique for assonance that he did for the words “normally”, “composed”, and “Doughty” used consecutively!!) Still, a little bit of snarky never hurt anyone, especially if it is from someone known for being tongue-in-cheek like Mike Doughty!
“We Take Care of Our Own” by Bruce Springsteen: Much like “The Rising”, inspired by the 9/11 attacks from about a decade earlier, “We Take Care of Our Own” is also an anthem of political frustration from The Boss, most likely about the “Occupy” movement. This, of course, is not a new subject for Springsteen. What is new, however (and quite tragic) is that his sax man, Clarence Clemons, died last year, so there are none of the trademark sax solos typically featured in Springsteen’s material on “We Take Care of Our Own”. Bruce’s best work, to me, was in the 1970’s. His combination of jazz, folk, soul, and rock, along with his often narrative, poetic lyrical stances, was quite fresh and exciting in terms of the music that came out during that time! After that, his music often leaned towards either arena rock (most of the Born In the U.S.A. album), or soft rock that lacked the intensity of his work in the ‘70s (an exception being the sublimely ethereal “Secret Garden”, perhaps one of his most poignant songs ever recorded). The only song of his so far that has even come close to what he did in the ‘70s is the joyously hard-rockin’ “Radio Nowhere” from 2007. Sure, “The Rising” was a great attempt at raising political awareness, and it was a powerful song, but it lacked the spark and showmanship of songs like “Born to Run” and “Rosalita”. I feel similarly about “We Take Care of Our Own”. It’s a good song with a dynamic message, but the rollicking, swept away feeling of his songs of olden days just isn’t there. Perhaps I should expect this since Bruce is pushing 60 by now, but it just doesn’t feel the same to me!
“California” by Delta Spirit: Well, at least I THOUGHT this was Delta Spirit. Sounds more like the latest Killers song, though. Is it really such a bad move for the typically Springsteen-goes-indie sound of Delta Spirit to suddenly veer towards a more new wave-y sound?! Well, yes and no. I personally think Delta Spirit should have stuck to their usual sound because it just suits them better! However, The Deltas were probably thinking ahead when they made this song in terms of wanting to gain a larger audience. The songs “Bushwick Blues” and “Golden State” from their last album, “History From Below” seemed to get Delta Spirit more of a taste of the limelight than anything from their debut album, “Ode to Sunshine”, so if they’re doing a flashy song with dueling synths and guitars like “California”, it’s probably because they enjoyed the surprise success of their last album and they want to move forward from there! I like “California”, but it’s also a disappointment in comparison to the other Delta Spirit songs I know.
“Caught Me Thinking” by Bahamas: Before “Caught Me Thinking”, all I knew from Bahamas was a cover of the lone Christmas song from folk-rock legends, The Band, “Christmas Must Be Tonight”. That being said, I was curious to know what Bahamas sounded like otherwise. Turns out their sound (at least for “Caught Me Thinking”) is very similar to their name, in that the smooth vibe of the song, combined with the echo-y distortion of its electric guitar, evoke a pleasantly “island-y” image, much like the actual island of Bahamas would. The mellow surf-rock feel of “Caught Me Thinking” provides perfect juxtaposition for its break-up-song lyrics, and it also seems as though the lead singer of Bahamas is trying to trick us with the title of the song, which is not mentioned, and instead, the words “GOT me thinking” are sung in the chorus. The title is not a mistake, though, it has been listed as “Caught Me Thinking”, and not “Got Me Thinking” everywhere I’ve seen it posted, which is in quite a few places by now.
“Downward Facing Dog” by moe.: This song is a long overdue release that has been on the adult alt radio airwaves since November, but sadly, I wasn’t able to find a decent copy of it until last week! It’s a good song, though. It also makes me curious to know if every underrated “jam band” besides Phish needs to go for a somewhat ‘70s hard-rock-ish sound in order to make their big breakthrough as musicians. Widespread Panic’s “North” sounded like Lynyrd Skynyrd, and it has been their biggest hit so far, and Umphrey’s McGee’s “Miami Virtue” had a Pink Floyd/Rush type sound and has been their only song CLOSE to a hit so far! “Downward Facing Dog” is the closest that the jam band formerly known as Five Guys Named Moe has gotten to a “classic rock” sound, specifically recalling the Southern blues-y rock sounds of bands such as ZZ Top and The Black Crowes. Moe. are usually a jazzier, more freeform band than how they come off as on “Downward Facing Dog”. Another aspect that makes this song interesting is that it slows down its tempo in the middle. “Downward Facing Dog” is a good song, I just wish that “jam bands” like moe. could be accepted more as jam bands than as “classic rock revival” bands.
“Easy Come, Easy Go” by Great Lake Swimmers: Great Lake Swimmers have been a fave among indie fans for quite awhile now. “Easy Come, Easy Go” marks the first time that The Swimmers have finally gotten noticed (slightly) beyond their core audience! It doesn’t seem too different than the typical indie song, though. That, however, is a GOOD thing for bands that were previously relative unknowns like Great Lake Swimmers, in that, instead of compromising their sound to reach a more “mainstream” audience, they have kept it just the way it is! The acoustic guitars, violins, and soothing vocals create a dreamy atmosphere surrounding “Easy Come, Easy Go”. A combination like that is already enough to win me over, but the fact that Great Lake Swimmers are staying loyal to their fanbase in terms of their sound earns “Easy Come, Easy Go” an extra bonus point!
“Eyeoneye” by Andrew Bird: Andrew Bird has always been somewhat of an oddity, even in the indie rock world! For starters, his song titles are…well…different, to say the least. His most popular song so far, “Fitz and The Dizzyspells” sounds more like the name of a band than the name of a song, andthetitletohislatestsonghasthewordsallsmooshedtogetherintoonewordaswell. He also uses unusual instrumentation, like violins (which take on a quality all their own in his songs), and pretty much every Andrew Bird song features him whistling. “Eyeoneye” is just one more touch of weirdness in the Andrew Bird catalog, in which he seems to be attempting his own version of punk rock (which comes out sounding a bit like a cross between The Velvet Underground and the ‘60s psychedelic rock group, Love). Not only are the guitars (slightly) amped up on “Eyeoneye”, but so is the angst of the lyrics (opening with a snide, sarcastic, “Go ahead and congratulate yourself”), and the way they are delivered. “Eyeoneye” might not sit quite comfortably with most Andrew Bird fans, but it’s fine with me. Andrew Bird is just one of those musicians who does what he does, and manages to sound good no matter what!
“Hurry Hurry” by Jessie Baylin: “Hurry Hurry” is one of those songs that sounds a lot older than it actually is! It comes off like somewhat of a “sequel” to old bossa nova songs like “The Girl From Ipanema”, and Jessie Baylin’s smooth, billowy, yearning vocals only add to the nostalgia factor of this song! I was expecting a folk-rock or singer/songwriter influenced sound to this song, but instead I got a cross between bossa nova and the female equivalent to “vocal” singers like Frank Sinatra and Tony Bennett. This wasn’t a letdown for me, though, in fact, quite the opposite! Seems like the type of song that might be on during a romantic, candle-lit dinner. Didn’t think I was going to hear anything like that during the 21st century, but something in me tells me it’s a good thing I did!
“I Could Be A King” by The Dunwells: What if Mumford and Sons decided to cover The Sundays’ bittersweet alt-pop classic, “Here’s Where the Story Ends”? Well, it would probably end up sounding a lot like “I Could Be A King”, the first major song from neo-folk-rockers The Dunwells. It uses the same uniquely styled “G” chord that “Here’s Where the Story Ends” used, yet the bluegrass-y sound of the guitar and banjo, as well as the low yet reedy vocals of the lead singer both bring to mind bands like Mumford and Sons. “I Could Be A King” sounds like a song that is as yearning as it is playful, and the lyrics to the song, in which the singer fantasizes about being a king, a poet, and a superhero, among other things, seem to justify that it is both a quirky and poetic song. That being said, this song is an instant winner for me!
“Jealous Girl” by Ben Kweller: In “Jealous Girl”, Ben Kweller sticks to the music he does best, melodic, somewhat Beatlesque power pop with angst-ridden lyrics on the side. Though the title alone to this song indicates negativity, Ben is clever enough here to disguise it as a high-spirited, happy pop song. The backing “ooh-ooh” vocals, the bright piano sound, the song’s major key, and even Ben’s intentional stuttering on the letter “J” in the word “jealous” all help to make “Jealous Girl” seem like it came straight out of the British Invasion (even though Ben Kweller is actually American). This song seems like it would make the perfect song to listen to in the spring and/or summertime, so why Ben chose to release it during winter is beyond me. I’m so glad he did, though!
“Moonshine” by My Pet Dragon: The name of this band alone was enough to tell me this song was probably pretty cool!! I mean, it sounds like the name of some obscure children’s book (and it very well could have been – the indie group Tilly and The Wall named themselves after a children’s book by Leo Lionni). “Moonshine” is a pretty cool song, just like I thought it would be! Of course, that’s not just because the name of the band that did it is called “My Pet Dragon”. It’s also because of the melodic vocals of the lead singer and the shimmering, glistening sound of the guitar! The title of the song might sound like something pretty, but don’t be fooled. The “moonshine” in this song is actually the name of an alcoholic beverage. Still, that doesn’t prevent me from thinking about how truly awesome this song is!
“Strike the Motion” by Mike Doughty: Perhaps I shouldn’t be too surprised that this is a somewhat rockin’ song (albeit with acoustic guitars as the main instrument) by the typically folk-y Mike Doughty, since he started out in the alternative rock outfit, Soul Coughing, but this sounds like a fast paced and somewhat angst-y song for Mike! It still retains the typical Doughty-isms, like odd but clever wordplay (take, for instance, the assonance used in the ending lyrics, “ferocious commotion, you choked, you got lockjaw”), but even that sounds scathing coming from the normally composed Doughty (notice I utilized the same technique for assonance that he did for the words “normally”, “composed”, and “Doughty” used consecutively!!) Still, a little bit of snarky never hurt anyone, especially if it is from someone known for being tongue-in-cheek like Mike Doughty!
“We Take Care of Our Own” by Bruce Springsteen: Much like “The Rising”, inspired by the 9/11 attacks from about a decade earlier, “We Take Care of Our Own” is also an anthem of political frustration from The Boss, most likely about the “Occupy” movement. This, of course, is not a new subject for Springsteen. What is new, however (and quite tragic) is that his sax man, Clarence Clemons, died last year, so there are none of the trademark sax solos typically featured in Springsteen’s material on “We Take Care of Our Own”. Bruce’s best work, to me, was in the 1970’s. His combination of jazz, folk, soul, and rock, along with his often narrative, poetic lyrical stances, was quite fresh and exciting in terms of the music that came out during that time! After that, his music often leaned towards either arena rock (most of the Born In the U.S.A. album), or soft rock that lacked the intensity of his work in the ‘70s (an exception being the sublimely ethereal “Secret Garden”, perhaps one of his most poignant songs ever recorded). The only song of his so far that has even come close to what he did in the ‘70s is the joyously hard-rockin’ “Radio Nowhere” from 2007. Sure, “The Rising” was a great attempt at raising political awareness, and it was a powerful song, but it lacked the spark and showmanship of songs like “Born to Run” and “Rosalita”. I feel similarly about “We Take Care of Our Own”. It’s a good song with a dynamic message, but the rollicking, swept away feeling of his songs of olden days just isn’t there. Perhaps I should expect this since Bruce is pushing 60 by now, but it just doesn’t feel the same to me!
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