here they are:
"Everything's Right" by Phish: Phish are known for being the ultimate example of a jam band from the '90s onward, much like The Grateful Dead were the ultimate example of a jam band during the '60s, '70s, and '80s. Much like The Dead, Phish's studio tracks are usually more "controlled" than their freewheeling live tracks, but that is not always the case. Phish's latest studio recording, "Everything's Right", which started out as a live recording, clocks in at a little over 12 minutes, making it the longest song I've reviewed so far! For the true devotees of Phish, it might be worth it to listen to all 12 minutes. However, for more casual fans such as myself, the first four and a half minutes of the song should do just fine. It's actually a very fun, optimistic track up until that point. After that, it's pretty much nothing but guitar solos. The entire track is for hardcore fans only, but just a slice of this track should be enough to uplift anyone from their quarantine blues.
"Isabella" by Hamilton Leithauser: "Isabella", the latest track from The Walkmen's frontman continues in the folk-rock direction of his previous adult alt radio hit, "Here They Come", but it's a much sweeter song than that one was. Its chill yet yearning vibes make for a bittersweet love song. At least it appears to be a love song on the surface, but underneath it all, there are no direct references that tell how Hamilton truly feels about the titular Isabella. Based on the music, though, he probably thinks she's pretty dreamy.
"One Day She's Here" by Marcus King: After the explosive blues-rock of his 2019 adult alt radio hit, "The Well", Marcus King dials things back a bit with "One Day She's Gone". Though guitar isn't the most audible instrument on "One Day She's Here", Marcus compensates for this by making the song extra sleek and funky. The song is about a girl whom Marcus attempts to build a relationship with, but he never quite gets there. Aren't a lot of relationships like that, though?
"This Forgotten Town" by The Jayhawks: For most of the new millennium, alt-country critical darlings, The Jayhawks, have focused on a jangle-pop sound similar to groups like The Byrds, Big Star, and R.E.M. "This Forgotten Town" marks the first time in nearly 25 years that The Jayhawks have gone back to the more countrified, roots-y rock sound they started with. There's nothing really jangly about this song, which uses roots-y electric guitar riffs backed by acoustic guitar and honky-tonk piano where fans might have expected 12-string guitars and Rickenbacker riffs to be instead. The songs "going down the road" style lyrics also hearken back to earlier Jayhawks songs, which were not as yearning and bittersweet as the ones they put out from the 2000's onward. This might just be the song to win back the small but significant fanbase that The Jayhawks first started building during the early to mid '90s. Who knew?!
Showing posts with label The Jayhawks. Show all posts
Showing posts with label The Jayhawks. Show all posts
Wednesday, May 20, 2020
Wednesday, February 8, 2017
New songs for February 8th 2017
here they are:
"Ballad of the Dying Man" by Father John Misty: Father John Misty continues to prove himself to be more indie than indie with each song he releases! This includes his latest song, the Beatle-esque "Ballad of the Dying Man". The chord progression is reminiscent of some of The Beatles' more progressive leaning tunes, such as "A Day In the Life" and "Sexy Sadie". Lyrically, "Ballad of the Dying Man" is also rather progressive, as it is one of the rare modern songs to take on a narrative perspective instead of a more direct one. It's obvious that FJM is trying to make his listeners sympathize with his character from the song's bittersweet lyrics and its equally bittersweet sound. What will he think of next?!
"Believer" by Imagine Dragons: Princess Peach from the "Mario" games is about to have her castle stormed by dragons! Imagine Dragons, that is, and I say this because it was a recent Nintendo ad that propelled Imagine Dragons' latest song, "Believer", on such a quick path to popularity among its listeners! As if that wasn't enough, it was also an ad featured in the Superbowl. Imagine Dragons never fail to excite, and "Believer" is definitely the sort of song to keep you on your feet when you're in the mood for it! As is typical of ID's material, "Believer" is a lively, dynamic song with somewhat sad lyrics behind it (about how "pain makes you a believer"). Given both the song's success in a video game company commercial and the in-your-face arena rock quality of Imagine Dragons' music, perhaps they should consider renaming themselves "Mario's Speedwagon"!
"Love Is Mystical" by Cold War Kids: Here is yet another song that has that indie-pop-cum-arena-rock type of sound! Cold War Kids started out being more straight up indie, but ever since the unexpected success of their song, "First", they seem to have adjusted their sound to be more fitting for a more massive mainstream audience. The song only has three chords, but it certainly makes its central statement known! Love is indeed mystical. It is also energetic and worth celebrating, as the vibe of this song has proven to me!
"Poetry" by Ray Davies: Yes, THAT Ray Davies! The lead singer of the legendary rock group, The Kinks. Those expecting a song like "Lola" or "You Really Got Me" might be a little disappointed, though. This song is more like a modernized update on the sorts of songs that Buffalo Springfield or Crosby, Stills, & Nash might have been likely to do, in terms of its sound. For those who know that alt-country group, The Jayhawks, are backing him up on this song, its Americanized folk-rock sound should come as no surprise. The song is a bittersweet lament on what the world is missing today - poetry! "Where is the poetry?" Ray mournfully inquires during the song's chorus. Ray, you're MAKING poetry just by performing this song and singing it!
"Ran" by Future Islands: There have been quite a few songs called "Run". Vampire Weekend, Collective Soul, Snow Patrol, and Eric Clapton have all done different songs with that same title. Future Islands, on the other hand, have now released what is, to my knowledge, the first song of which the title is the past tense of the word "run", as opposed to its present tense form. During the height of their popularity in summer 2014 with "Seasons (Waiting On You)", I saw them in concert and expected "Seasons" to be the only song they would be known for. "Ran" has proven me wrong. Similar to "Seasons...", "Ran" is a modern-day synth-pop song in the key of B flat major. The yearning, lovelorn lyrics of "Ran", combined with the key it is in, seem to make it serve as a "sequel song" to "Seasons...". In "Seasons...", Sam Herring sang about how he was "waiting on" his loved one for such a long time that it made him ache inside. In "Ran", Sam seems to come to the realization that he was waiting in vain, asking his lover, "What's a song without you, when every song is about you?" Those who will be single this coming Valentine's Day just got one more song to listen to thanks to Future Islands!
"Ballad of the Dying Man" by Father John Misty: Father John Misty continues to prove himself to be more indie than indie with each song he releases! This includes his latest song, the Beatle-esque "Ballad of the Dying Man". The chord progression is reminiscent of some of The Beatles' more progressive leaning tunes, such as "A Day In the Life" and "Sexy Sadie". Lyrically, "Ballad of the Dying Man" is also rather progressive, as it is one of the rare modern songs to take on a narrative perspective instead of a more direct one. It's obvious that FJM is trying to make his listeners sympathize with his character from the song's bittersweet lyrics and its equally bittersweet sound. What will he think of next?!
"Believer" by Imagine Dragons: Princess Peach from the "Mario" games is about to have her castle stormed by dragons! Imagine Dragons, that is, and I say this because it was a recent Nintendo ad that propelled Imagine Dragons' latest song, "Believer", on such a quick path to popularity among its listeners! As if that wasn't enough, it was also an ad featured in the Superbowl. Imagine Dragons never fail to excite, and "Believer" is definitely the sort of song to keep you on your feet when you're in the mood for it! As is typical of ID's material, "Believer" is a lively, dynamic song with somewhat sad lyrics behind it (about how "pain makes you a believer"). Given both the song's success in a video game company commercial and the in-your-face arena rock quality of Imagine Dragons' music, perhaps they should consider renaming themselves "Mario's Speedwagon"!
"Love Is Mystical" by Cold War Kids: Here is yet another song that has that indie-pop-cum-arena-rock type of sound! Cold War Kids started out being more straight up indie, but ever since the unexpected success of their song, "First", they seem to have adjusted their sound to be more fitting for a more massive mainstream audience. The song only has three chords, but it certainly makes its central statement known! Love is indeed mystical. It is also energetic and worth celebrating, as the vibe of this song has proven to me!
"Poetry" by Ray Davies: Yes, THAT Ray Davies! The lead singer of the legendary rock group, The Kinks. Those expecting a song like "Lola" or "You Really Got Me" might be a little disappointed, though. This song is more like a modernized update on the sorts of songs that Buffalo Springfield or Crosby, Stills, & Nash might have been likely to do, in terms of its sound. For those who know that alt-country group, The Jayhawks, are backing him up on this song, its Americanized folk-rock sound should come as no surprise. The song is a bittersweet lament on what the world is missing today - poetry! "Where is the poetry?" Ray mournfully inquires during the song's chorus. Ray, you're MAKING poetry just by performing this song and singing it!
"Ran" by Future Islands: There have been quite a few songs called "Run". Vampire Weekend, Collective Soul, Snow Patrol, and Eric Clapton have all done different songs with that same title. Future Islands, on the other hand, have now released what is, to my knowledge, the first song of which the title is the past tense of the word "run", as opposed to its present tense form. During the height of their popularity in summer 2014 with "Seasons (Waiting On You)", I saw them in concert and expected "Seasons" to be the only song they would be known for. "Ran" has proven me wrong. Similar to "Seasons...", "Ran" is a modern-day synth-pop song in the key of B flat major. The yearning, lovelorn lyrics of "Ran", combined with the key it is in, seem to make it serve as a "sequel song" to "Seasons...". In "Seasons...", Sam Herring sang about how he was "waiting on" his loved one for such a long time that it made him ache inside. In "Ran", Sam seems to come to the realization that he was waiting in vain, asking his lover, "What's a song without you, when every song is about you?" Those who will be single this coming Valentine's Day just got one more song to listen to thanks to Future Islands!
Wednesday, August 10, 2016
New songs for August 10th, 2016
here they are:
"A Thousand Times" by Hamilton Leithauser: The Walkmen's lead singer sure has come a long way from where he started off! I never would have predicted that a band known for mixing surf and garage rock sounds during the 21st century would end up having a lead singer who was capable of making a song as romantic as this one! The old-time-y sounding piano and organs that dominate this song make it seem like it's from another time (that is, until the guitars come in towards the end). The message of the song is pretty simple. Leithauser has a dream that the one he desires the most was his "a thousand times". No matter how many times the message is repeated, though, (which it is quite a few times) it's still a very heartfelt sentiment, don't ya think?
"Comeback Kids" by The Jayhawks: Moving away from their more traditional country and folk influences, The Jayhawks have decided to have more of an "indie" sound in their latest song, "Comeback Kids". Here, Gary Louris and co join the ranks of fellow alt-country-cum-indie band, Wilco, in having a song that sounds like a cross between Big Star and Television, in which jangle-pop meets post-punk. Despite the rougher edges this song has in comparison to the 'Hawks other material, "Comeback Kids" is still sentimental in the lyrical sense. It is a song about reminiscing over a former girlfriend.
"I'm Still Here" by Sharon Jones and The Dap-Kings: Sharon Jones is definitely still here, that's for sure! In her latest song, "I'm Still Here", Sharon delivers a powerful blast of soul music as only she can! Drums, bass, sax, and of course, Jones' powerful vocals propel this song, which seems to be a tale of both survival and triumph. No other "neo-soul" artist sounds both so funky and so authentically 1960's as Sharon Jones does. The song switches between quieter verses and louder chorus sections, although "loud", in this case, is something celebratory and free of distortion.
"Love Is A Burden" by Jamestown Revival: The Beatles' "Don't Let Me Down" is a painfully obvious influence this song has, at least during the verses. On the plus side, though, the overall sound of "Love Is A Burden" is a step closer to a 2010's alt-rock-ish sound than the bluegrass-y Jamestown Revival previously had two years ago, so perhaps certain younger listeners might find this song to be an easier way to get into Jamestown Revival's music than "California (Cast Iron Soul)" was. Love may be a burden, but clearly nothing is stopping Jamestown Revival from using bright, catchy instrumentation to mask its lovelorn lyrics.
"Shut Up Kiss Me" by Angel Olsen: No, she is not the third Olsen twin (triplet?!) Far from it, really. Her music is like an unlikely cross between Tom Petty and PJ Harvey, and she's about as clear to understand vocally as either of them are (in other words, she's hard to understand). She sings "Shut up kiss me, hold me tight" so fast that you can barely tell what she's saying! At least it's somewhat easy to tell what it's about lyrically. It seems to be about an unrequited love of sorts, albeit as more of a defiant declaration of love than as a "no one understands me, I'm sad" statement.
"A Thousand Times" by Hamilton Leithauser: The Walkmen's lead singer sure has come a long way from where he started off! I never would have predicted that a band known for mixing surf and garage rock sounds during the 21st century would end up having a lead singer who was capable of making a song as romantic as this one! The old-time-y sounding piano and organs that dominate this song make it seem like it's from another time (that is, until the guitars come in towards the end). The message of the song is pretty simple. Leithauser has a dream that the one he desires the most was his "a thousand times". No matter how many times the message is repeated, though, (which it is quite a few times) it's still a very heartfelt sentiment, don't ya think?
"Comeback Kids" by The Jayhawks: Moving away from their more traditional country and folk influences, The Jayhawks have decided to have more of an "indie" sound in their latest song, "Comeback Kids". Here, Gary Louris and co join the ranks of fellow alt-country-cum-indie band, Wilco, in having a song that sounds like a cross between Big Star and Television, in which jangle-pop meets post-punk. Despite the rougher edges this song has in comparison to the 'Hawks other material, "Comeback Kids" is still sentimental in the lyrical sense. It is a song about reminiscing over a former girlfriend.
"I'm Still Here" by Sharon Jones and The Dap-Kings: Sharon Jones is definitely still here, that's for sure! In her latest song, "I'm Still Here", Sharon delivers a powerful blast of soul music as only she can! Drums, bass, sax, and of course, Jones' powerful vocals propel this song, which seems to be a tale of both survival and triumph. No other "neo-soul" artist sounds both so funky and so authentically 1960's as Sharon Jones does. The song switches between quieter verses and louder chorus sections, although "loud", in this case, is something celebratory and free of distortion.
"Love Is A Burden" by Jamestown Revival: The Beatles' "Don't Let Me Down" is a painfully obvious influence this song has, at least during the verses. On the plus side, though, the overall sound of "Love Is A Burden" is a step closer to a 2010's alt-rock-ish sound than the bluegrass-y Jamestown Revival previously had two years ago, so perhaps certain younger listeners might find this song to be an easier way to get into Jamestown Revival's music than "California (Cast Iron Soul)" was. Love may be a burden, but clearly nothing is stopping Jamestown Revival from using bright, catchy instrumentation to mask its lovelorn lyrics.
"Shut Up Kiss Me" by Angel Olsen: No, she is not the third Olsen twin (triplet?!) Far from it, really. Her music is like an unlikely cross between Tom Petty and PJ Harvey, and she's about as clear to understand vocally as either of them are (in other words, she's hard to understand). She sings "Shut up kiss me, hold me tight" so fast that you can barely tell what she's saying! At least it's somewhat easy to tell what it's about lyrically. It seems to be about an unrequited love of sorts, albeit as more of a defiant declaration of love than as a "no one understands me, I'm sad" statement.
Wednesday, March 2, 2016
New songs for March 2nd, 2016
here they are:
"Cold to See Clear" by Nada Surf: Nada Surf's biggest pop chart hit, "Popular", from 1996, wouldn't really be a good way to introduce someone to Nada Surf for the first time. About a decade after that song's heyday, Nada Surf decided to focus far more on doing Byrds-y jangle-pop with catchy, melodic pop hooks than they did on pseudo-grunge songs like "Popular". Nada Surf's latest song, "Cold to See Clear", is no exception to that rule. The lush harmonies, the jangle of the main guitar, and the catchy beats of the percussion are all central elements of "Cold to See Clear". The song might be an ode to the joy of music itself, with its chorus consisting of lyrics like, "The airwaves they took me, the radio made me". For a band with a knack for well planned song craft, Nada Surf might give you the impression that they may as well be singing about themselves in "Cold to See Clear"!
"Devil In Me" by Anderson East: For those who have only heard the soul-infused "Satisfy Me" from Anderson East so far, you may be wondering why a man who seems like the white answer to Otis Redding is dating country-pop star Miranda Lambert. The answer to that may be right here in the song slated to be Anderson's second big tune, "Devil In Me". In spite of its saucy title, "Devil In Me" is a far more mellow and country influenced tune than "Satisfy Me". The song isn't a total snooze-fest, though, as it does boast equal amounts of influence from gospel and jazz as it does from country. "Devil In Me" might just be about Miranda, since the song centers around an "angel" who "brings out the devil" in Anderson.
"Mr. Rodriguez" by Rayland Baxter: "Searching For Sugar Man" fans, rejoice! A song about the formerly obscure '60s folk-rock musician Rodriguez has finally arrived in the form of fellow folk-rocker Rayland Baxter's song, "Mr. Rodriguez". The song has a rather neo-psychedelic, light indie-pop flavor, a marked contrast to the autumnal, Dylan-esque folk of "Yellow Eyes" that introduced people to Rayland Baxter in fall of last year. "Mr. Rodriguez" is Baxter's attempt to whisk his listeners away into a fantasy land in Detroit in which him and the titular character take a stroll downtown. Outta sight, man!
"Need A Friend" by El Vy: Much like El Vy's first major hit, "Return to the Moon", "Need A Friend" is yet another Matt Berninger song that is more uptempo than his more gloomy and dour work with The National. The rhythm of "Need A Friend" draws the listener in from the very beginning with its beats accented on the second and fourth measures, a pattern that has been used in many songs from The Grateful Dead's "Truckin'" to Depeche Mode's "Personal Jesus", the latter of which "Need A Friend" bears a vague resemblance to. A sort of neo-psychedelic pop sound defines both the spacey synthesizer and fuzz drenched guitar that "Need A Friend" is centered around.
"Quiet Corners And Empty Spaces" by The Jayhawks: Fans of the late, great Alex Chilton might be quick to label The Jayhawks' latest song, "Quiet Corners And Empty Spaces", as an alt-country rewrite of Big Star's "September Gurls". It does seem as though Gary Louris and co have looked to Big Star as an influence, in addition to many other '60s and '70s pop/rock groups, such as The Beatles, The Byrds, and Crosby Stills & Nash, among others. Aside from nostalgia, print media is another source that the 'Hawks have drawn from in "Quiet Corners And Empty Spaces", the title of which was taken from random words one of the members cut from newspaper and magazine articles. The lyrical theme of "Quiet Corners..." continues in the footsteps of The Jayhawks' last big song, "Hide Your Colors", which was about struggling with a relationship, much like this one is. The Jayhawks have managed to charm me once again with this song by doing what they do best, combining Byrds-y 12-string guitars, folk-rock harmonies, and catchy, memorable hooks.
"Cold to See Clear" by Nada Surf: Nada Surf's biggest pop chart hit, "Popular", from 1996, wouldn't really be a good way to introduce someone to Nada Surf for the first time. About a decade after that song's heyday, Nada Surf decided to focus far more on doing Byrds-y jangle-pop with catchy, melodic pop hooks than they did on pseudo-grunge songs like "Popular". Nada Surf's latest song, "Cold to See Clear", is no exception to that rule. The lush harmonies, the jangle of the main guitar, and the catchy beats of the percussion are all central elements of "Cold to See Clear". The song might be an ode to the joy of music itself, with its chorus consisting of lyrics like, "The airwaves they took me, the radio made me". For a band with a knack for well planned song craft, Nada Surf might give you the impression that they may as well be singing about themselves in "Cold to See Clear"!
"Devil In Me" by Anderson East: For those who have only heard the soul-infused "Satisfy Me" from Anderson East so far, you may be wondering why a man who seems like the white answer to Otis Redding is dating country-pop star Miranda Lambert. The answer to that may be right here in the song slated to be Anderson's second big tune, "Devil In Me". In spite of its saucy title, "Devil In Me" is a far more mellow and country influenced tune than "Satisfy Me". The song isn't a total snooze-fest, though, as it does boast equal amounts of influence from gospel and jazz as it does from country. "Devil In Me" might just be about Miranda, since the song centers around an "angel" who "brings out the devil" in Anderson.
"Mr. Rodriguez" by Rayland Baxter: "Searching For Sugar Man" fans, rejoice! A song about the formerly obscure '60s folk-rock musician Rodriguez has finally arrived in the form of fellow folk-rocker Rayland Baxter's song, "Mr. Rodriguez". The song has a rather neo-psychedelic, light indie-pop flavor, a marked contrast to the autumnal, Dylan-esque folk of "Yellow Eyes" that introduced people to Rayland Baxter in fall of last year. "Mr. Rodriguez" is Baxter's attempt to whisk his listeners away into a fantasy land in Detroit in which him and the titular character take a stroll downtown. Outta sight, man!
"Need A Friend" by El Vy: Much like El Vy's first major hit, "Return to the Moon", "Need A Friend" is yet another Matt Berninger song that is more uptempo than his more gloomy and dour work with The National. The rhythm of "Need A Friend" draws the listener in from the very beginning with its beats accented on the second and fourth measures, a pattern that has been used in many songs from The Grateful Dead's "Truckin'" to Depeche Mode's "Personal Jesus", the latter of which "Need A Friend" bears a vague resemblance to. A sort of neo-psychedelic pop sound defines both the spacey synthesizer and fuzz drenched guitar that "Need A Friend" is centered around.
"Quiet Corners And Empty Spaces" by The Jayhawks: Fans of the late, great Alex Chilton might be quick to label The Jayhawks' latest song, "Quiet Corners And Empty Spaces", as an alt-country rewrite of Big Star's "September Gurls". It does seem as though Gary Louris and co have looked to Big Star as an influence, in addition to many other '60s and '70s pop/rock groups, such as The Beatles, The Byrds, and Crosby Stills & Nash, among others. Aside from nostalgia, print media is another source that the 'Hawks have drawn from in "Quiet Corners And Empty Spaces", the title of which was taken from random words one of the members cut from newspaper and magazine articles. The lyrical theme of "Quiet Corners..." continues in the footsteps of The Jayhawks' last big song, "Hide Your Colors", which was about struggling with a relationship, much like this one is. The Jayhawks have managed to charm me once again with this song by doing what they do best, combining Byrds-y 12-string guitars, folk-rock harmonies, and catchy, memorable hooks.
Wednesday, January 11, 2012
It all started with a big...BANG!! 10 songs for 2012!!
Isn't this exciting?!? The new year has arrived and already we've got almost a dozen songs in store to review!!! Let's take a look at 'em shall we?!
"Calling Me Names" by Good Old War: Good Old War would probably be called just "Good Old" if it weren't for the fact that sounds grammatically incorrect!! The reason I say this is because that's just the kind of music Good Old War typically do! Their sound basically is what it'd be like if Simon and Garfunkel and The Lovin' Spoonful had a baby, only updated for the indie/alt generation of the 2000's and 2010's. There's really nothing "war" like about their sound. This is the fifth successful song GOW have had on adult alt radio stations. Unlike their previous four songs, this one really is more folk-ROCK than folk-pop, but mainly because of the (surprise) electric guitar solo in the middle of it (it doesn't sound too out of place, though, in fact, I think it goes right along with the song!) This song is so bubbly and heartwarming, it's honestly hard to believe that its joyful sound masks a tale of heartbreak. Overall, though, this is a very charming, well thought out song!
"Chains of Love" by Ryan Adams: Like Ryan's previous adult alt radio mega-hit, "Lucky Now", this is an acoustic Ryan Adams song. Its B major 7th chord (or rather, a capoed chord, from what it looks like in the video I'm watching of this song) already gets it off to a good start, though! It's funny to me that Ryan is not only cutting down his sound, but also the time it takes to do each song, in terms of the songs from his latest album! "Lucky Now" was a little under 3 minutes, and "Chains of Love" is barely under TWO!! (A feat that only songs like The Beatles' "Norwegian Wood" and Nick Drake's "Pink Moon" have accomplished so far!!) Perhaps that's exactly the vibe Ryan is trying to evoke on "Chains of Love" - a somber '60s folk-rock vibe reminiscent of songs like "Pink Moon" and "Norwegian Wood". It initially took me awhile for me to accept that Ryan's latest album wasn't going to have a powerhouse Springsteen/U2 type sound, but now I'm having second thoughts about that, in a good way!!
"Gold On the Ceiling" by The Black Keys: On The Black Keys previous album "Brothers", the faster song ("Tighten Up") was released first, and the slower, blues-ier song ("Howlin' For You") was second. For the Keys' latest effort, "El Camino", they set up the same pattern, faster song ("Lonely Boy") first, and slower, blues-ier song (this one, "Gold On the Ceiling") after that one. The more I'm getting to know the music of The Black Keys, the more genius I think they are! They're obviously a band who wears their classic rock influences on their sleeve, be it the glam rock of David Bowie or T. Rex, or the British blues boogie-rock of The Animals or The Yardbirds, yet somehow they make this sound fresh, as though it had never existed before they came along! And pretty much every song I've heard off of "Brothers" and "El Camino" have successfully stuck in my head (and the heads of many others)!! It's no wonder they're one of the main attractions (if not THE main attraction) at Coachella this year!!
"Hide Your Colors" by The Jayhawks: Probably the closest an indie audience can get to rock groups who utilized both folk and country influences prominently (The Byrds, The Band, Buffalo Springfield, Crosby Stills and Nash, etc.) would be The Jayhawks. They have been well loved by adult alt audiences ever since the early '90s (back when "adult alternative" was a new radio format), but it took until almost two decades later to land a MEGA-hit on adult alt radio, with the Byrds-y "She Walks In So Many Ways". The Hawks' latest song, "Hide Your Colors" is from the same CD as "She Walks..." ("Mockingbird Time"), but it doesn't have the same hook, rhythm, and bounciness as that song does. "Hide Your Colors" is slower, has more string sections to back it up, and sounds more like a George Harrison song (esp. during the solo) than a Byrds song. The lyrics to the song are simultaneously sad and somewhat enigmatic (the chorus, for instance, "You shouldn't hide your colors"), so it is definitely not a brightly spirited love song in the vein of "She Walks In So Many Ways", but there's still plenty to like about it, as there always is with the Jayhawks' music.
"High On A Wire" by Black Box Revelation: Is it just me, or do newer bands with the word "Black" in their name have a thing for the blues?! There's The Black Keys (see "Gold On the Ceiling", two songs earlier than this one), and also the later work of Black Rebel Motorcycle Club. Well here's a third band to put the "blues" in "black" - Black Box Revelation!! Their first song to make a significant impact on adult alt radio, "High On A Wire", is a great song to kick off the new year with!! It has a somewhat slow beat, but not a sad one, more of a "cool" boogie-blues beat a la John Lee Hooker! A band like this probably could have hit the mainstream back when bands like The White Stripes and Jet first made a big impact on rock music, but if Black Box Revelation only reaches the indie/adult alt crowds with this song, that's no problem with me. Better that than nothing, I say!
"Hold On" by Alabama Shakes: What's country, soul, blues, and indie all over?! The Alabama Shakes, that's who!! If a contemporary "alt-country" band (Drive-By Truckers, maybe) recorded at the legendary soul music circuit of Muscle Shoals Sound Studio, it would probably come out sounding like "Hold On" by Alabama Shakes, yet another band making their initial impact on adult alt radio in early 2012!! Though I'm usually quick to praise anything with an "indie" sound, Alabama Shakes seem like the sort of band that even people who AREN'T that drawn to indie rock would like! The vocals sound like Jack White from The White Stripes, the guitars have that spicy country-blues-rock sound you might hear in songs by The Allman Brothers, Little Feat, or The Black Crowes, and the drums wouldn't sound that out of place in an Otis Redding song! How's THAT for "different"?!
"How'd You Like That?" by The Kooks: What the?!? Have The Kooks added Elton John into their band?! Or maybe Ben Folds?! Nope, it's just that this is the first major song from The Kooks to feature both piano and guitar as prominent instruments! An ambitious project for the mostly guitar-oriented, Kinks influenced music of The Kooks, but Luke Pritchard and co are able to make it work here!! It's clear that The Kooks are trying to expand their musical pallet for their latest album. "Junk of the Heart (Happy)" mixed sunny, Beatlesque pop/rock with Burt Bacharach-ish major 7th chords, and "Is It Me?" sounded like something out of Phoenix or Vampire Weekend's catalog. That being said, The Kooks' combination of a sweeping piano sound with their signature guitar distortion results in a darn catchy tune like most of their material!! Too bad they're not playing Coachella this year. They seem like they'd be a great act to see live!
"Might Find It Cheap" by Blitzen Trapper: And here's ANOTHER indie band that has expanded their range of musical influences (and, sadly, was ALSO left out of Coachella!!) Blitzen Trapper typically have a folk-rock sound in their music. The closest they've gotten to electric guitar oriented music was the Donovan-esque "Dragon's Song". But wait!! Are those electric guitars that sound like they could've come from Jimmy Page from Led Zeppelin at the beginning of "Might Find It Cheap"?!? Well, they're not actually Jimmy Page's guitar, of course, but those ARE electric guitars with a fuzzy distortion that's a FAR cry from the typical folk-rock sound of Blitzen Trapper!! And what's with those lyrics, "You might find it cheap, but you're never gonna find it free"?!? Could they possibly be using innuendo in this song with a rock star swagger a la Mick Jagger?!? Certainly is unusual for a band that usually does songs about mysterious adventures out in the woods ("Black River Killer"), psychedelic yet lilting fantasies ("Dragon's Song"), and lovesick lullabies (their latest song before this one, "Love the Way You Walk Away"). Heck, if these guys were more popular (and around in the '60s/'70s), this song would be surefire hit on classic rock stations!! Definitely a shocker for Blitzen Trapper, but still a good song!
"The Bad In Each Other" by Feist: Perhaps not QUITE a "new" entry, as this song has been a minor hit with the "indie" crowd since around late November/early December, but it's only started making its way to adult alt radio stations (aside from LA's KCSN, who have played this song ever since late November/early December). A wise decision on Feist's part (or maybe her manager's) to have "How Come You Never Go There?" released as the first big song off her latest CD, "Metals", as it is a very catchy, charming, and memorable song. "The Bad In Each Other" is definitely memorable, but not quite catchy or charming. It is a minor key song with dark lyrics to match! The unusual instrumentation (horns, tambourines) that gets added in with the more typical instruments (guitar, drums) used in the song proves it's a pure Feist song when it comes to its sound. This is probably the moodiest song in Feist's catalog so far, but it's not as though she hasn't done other songs in minor key before ("My Moon, My Man", anyone?!)
"Which Side Are You On?" by Ani DiFranco: Not everyone knows who Ani DiFranco is, but they oughta!! She's all kinds of awesome! A folk-rocker, singer/songwriter, lesbian rights activist, and political activist in general, Ani has been hard at work in the music biz since the early '90s, and she's been staying strong ever since! Her latest song, "Which Side Are You On?", has a rather deceiving start to it. It sounds like it's going to be a bluegrass song, but as the electric guitars come charging in after about 30 seconds in, Ani pounds out a powerhouse anthem that Woody Guthrie probably would've done had he been a folk-rocker as opposed to a folk musician. Ani's clearly frustrated with the current American political system in this song (and, later on in the song, feminism). She's had some raw emotion in her songs before, but none as raw (or rockin') as this one!! Almost 20 years into her musical career and stronger than ever!! Now THAT's something to admire. If her and Tom Morello (as his folk-rock alter ego "The Nightwatchman") ever did a concert together I'd SO pay to see that!! I think her and Morello are on the same page now, both musically and politically! Rock on, sista!!
"Calling Me Names" by Good Old War: Good Old War would probably be called just "Good Old" if it weren't for the fact that sounds grammatically incorrect!! The reason I say this is because that's just the kind of music Good Old War typically do! Their sound basically is what it'd be like if Simon and Garfunkel and The Lovin' Spoonful had a baby, only updated for the indie/alt generation of the 2000's and 2010's. There's really nothing "war" like about their sound. This is the fifth successful song GOW have had on adult alt radio stations. Unlike their previous four songs, this one really is more folk-ROCK than folk-pop, but mainly because of the (surprise) electric guitar solo in the middle of it (it doesn't sound too out of place, though, in fact, I think it goes right along with the song!) This song is so bubbly and heartwarming, it's honestly hard to believe that its joyful sound masks a tale of heartbreak. Overall, though, this is a very charming, well thought out song!
"Chains of Love" by Ryan Adams: Like Ryan's previous adult alt radio mega-hit, "Lucky Now", this is an acoustic Ryan Adams song. Its B major 7th chord (or rather, a capoed chord, from what it looks like in the video I'm watching of this song) already gets it off to a good start, though! It's funny to me that Ryan is not only cutting down his sound, but also the time it takes to do each song, in terms of the songs from his latest album! "Lucky Now" was a little under 3 minutes, and "Chains of Love" is barely under TWO!! (A feat that only songs like The Beatles' "Norwegian Wood" and Nick Drake's "Pink Moon" have accomplished so far!!) Perhaps that's exactly the vibe Ryan is trying to evoke on "Chains of Love" - a somber '60s folk-rock vibe reminiscent of songs like "Pink Moon" and "Norwegian Wood". It initially took me awhile for me to accept that Ryan's latest album wasn't going to have a powerhouse Springsteen/U2 type sound, but now I'm having second thoughts about that, in a good way!!
"Gold On the Ceiling" by The Black Keys: On The Black Keys previous album "Brothers", the faster song ("Tighten Up") was released first, and the slower, blues-ier song ("Howlin' For You") was second. For the Keys' latest effort, "El Camino", they set up the same pattern, faster song ("Lonely Boy") first, and slower, blues-ier song (this one, "Gold On the Ceiling") after that one. The more I'm getting to know the music of The Black Keys, the more genius I think they are! They're obviously a band who wears their classic rock influences on their sleeve, be it the glam rock of David Bowie or T. Rex, or the British blues boogie-rock of The Animals or The Yardbirds, yet somehow they make this sound fresh, as though it had never existed before they came along! And pretty much every song I've heard off of "Brothers" and "El Camino" have successfully stuck in my head (and the heads of many others)!! It's no wonder they're one of the main attractions (if not THE main attraction) at Coachella this year!!
"Hide Your Colors" by The Jayhawks: Probably the closest an indie audience can get to rock groups who utilized both folk and country influences prominently (The Byrds, The Band, Buffalo Springfield, Crosby Stills and Nash, etc.) would be The Jayhawks. They have been well loved by adult alt audiences ever since the early '90s (back when "adult alternative" was a new radio format), but it took until almost two decades later to land a MEGA-hit on adult alt radio, with the Byrds-y "She Walks In So Many Ways". The Hawks' latest song, "Hide Your Colors" is from the same CD as "She Walks..." ("Mockingbird Time"), but it doesn't have the same hook, rhythm, and bounciness as that song does. "Hide Your Colors" is slower, has more string sections to back it up, and sounds more like a George Harrison song (esp. during the solo) than a Byrds song. The lyrics to the song are simultaneously sad and somewhat enigmatic (the chorus, for instance, "You shouldn't hide your colors"), so it is definitely not a brightly spirited love song in the vein of "She Walks In So Many Ways", but there's still plenty to like about it, as there always is with the Jayhawks' music.
"High On A Wire" by Black Box Revelation: Is it just me, or do newer bands with the word "Black" in their name have a thing for the blues?! There's The Black Keys (see "Gold On the Ceiling", two songs earlier than this one), and also the later work of Black Rebel Motorcycle Club. Well here's a third band to put the "blues" in "black" - Black Box Revelation!! Their first song to make a significant impact on adult alt radio, "High On A Wire", is a great song to kick off the new year with!! It has a somewhat slow beat, but not a sad one, more of a "cool" boogie-blues beat a la John Lee Hooker! A band like this probably could have hit the mainstream back when bands like The White Stripes and Jet first made a big impact on rock music, but if Black Box Revelation only reaches the indie/adult alt crowds with this song, that's no problem with me. Better that than nothing, I say!
"Hold On" by Alabama Shakes: What's country, soul, blues, and indie all over?! The Alabama Shakes, that's who!! If a contemporary "alt-country" band (Drive-By Truckers, maybe) recorded at the legendary soul music circuit of Muscle Shoals Sound Studio, it would probably come out sounding like "Hold On" by Alabama Shakes, yet another band making their initial impact on adult alt radio in early 2012!! Though I'm usually quick to praise anything with an "indie" sound, Alabama Shakes seem like the sort of band that even people who AREN'T that drawn to indie rock would like! The vocals sound like Jack White from The White Stripes, the guitars have that spicy country-blues-rock sound you might hear in songs by The Allman Brothers, Little Feat, or The Black Crowes, and the drums wouldn't sound that out of place in an Otis Redding song! How's THAT for "different"?!
"How'd You Like That?" by The Kooks: What the?!? Have The Kooks added Elton John into their band?! Or maybe Ben Folds?! Nope, it's just that this is the first major song from The Kooks to feature both piano and guitar as prominent instruments! An ambitious project for the mostly guitar-oriented, Kinks influenced music of The Kooks, but Luke Pritchard and co are able to make it work here!! It's clear that The Kooks are trying to expand their musical pallet for their latest album. "Junk of the Heart (Happy)" mixed sunny, Beatlesque pop/rock with Burt Bacharach-ish major 7th chords, and "Is It Me?" sounded like something out of Phoenix or Vampire Weekend's catalog. That being said, The Kooks' combination of a sweeping piano sound with their signature guitar distortion results in a darn catchy tune like most of their material!! Too bad they're not playing Coachella this year. They seem like they'd be a great act to see live!
"Might Find It Cheap" by Blitzen Trapper: And here's ANOTHER indie band that has expanded their range of musical influences (and, sadly, was ALSO left out of Coachella!!) Blitzen Trapper typically have a folk-rock sound in their music. The closest they've gotten to electric guitar oriented music was the Donovan-esque "Dragon's Song". But wait!! Are those electric guitars that sound like they could've come from Jimmy Page from Led Zeppelin at the beginning of "Might Find It Cheap"?!? Well, they're not actually Jimmy Page's guitar, of course, but those ARE electric guitars with a fuzzy distortion that's a FAR cry from the typical folk-rock sound of Blitzen Trapper!! And what's with those lyrics, "You might find it cheap, but you're never gonna find it free"?!? Could they possibly be using innuendo in this song with a rock star swagger a la Mick Jagger?!? Certainly is unusual for a band that usually does songs about mysterious adventures out in the woods ("Black River Killer"), psychedelic yet lilting fantasies ("Dragon's Song"), and lovesick lullabies (their latest song before this one, "Love the Way You Walk Away"). Heck, if these guys were more popular (and around in the '60s/'70s), this song would be surefire hit on classic rock stations!! Definitely a shocker for Blitzen Trapper, but still a good song!
"The Bad In Each Other" by Feist: Perhaps not QUITE a "new" entry, as this song has been a minor hit with the "indie" crowd since around late November/early December, but it's only started making its way to adult alt radio stations (aside from LA's KCSN, who have played this song ever since late November/early December). A wise decision on Feist's part (or maybe her manager's) to have "How Come You Never Go There?" released as the first big song off her latest CD, "Metals", as it is a very catchy, charming, and memorable song. "The Bad In Each Other" is definitely memorable, but not quite catchy or charming. It is a minor key song with dark lyrics to match! The unusual instrumentation (horns, tambourines) that gets added in with the more typical instruments (guitar, drums) used in the song proves it's a pure Feist song when it comes to its sound. This is probably the moodiest song in Feist's catalog so far, but it's not as though she hasn't done other songs in minor key before ("My Moon, My Man", anyone?!)
"Which Side Are You On?" by Ani DiFranco: Not everyone knows who Ani DiFranco is, but they oughta!! She's all kinds of awesome! A folk-rocker, singer/songwriter, lesbian rights activist, and political activist in general, Ani has been hard at work in the music biz since the early '90s, and she's been staying strong ever since! Her latest song, "Which Side Are You On?", has a rather deceiving start to it. It sounds like it's going to be a bluegrass song, but as the electric guitars come charging in after about 30 seconds in, Ani pounds out a powerhouse anthem that Woody Guthrie probably would've done had he been a folk-rocker as opposed to a folk musician. Ani's clearly frustrated with the current American political system in this song (and, later on in the song, feminism). She's had some raw emotion in her songs before, but none as raw (or rockin') as this one!! Almost 20 years into her musical career and stronger than ever!! Now THAT's something to admire. If her and Tom Morello (as his folk-rock alter ego "The Nightwatchman") ever did a concert together I'd SO pay to see that!! I think her and Morello are on the same page now, both musically and politically! Rock on, sista!!
Wednesday, July 6, 2011
new songs for July 6th, 2011
here they are:
"Can't Get You Out of My Head" by Dave Stewart: Of the two leading members of The Eurythmics, Annie Lennox, of course, has been the one to have more hits (both with and without the band) and is the more recognizable of the way she looks. Now it's the lesser known member, Dave Stewart's turn to take his stab at the spotlight. And what a fantastic job he does! Stewart's INXS-ish rock and roll sound and energy he puts into "Can't Get You Out of My Head" balances out the more reflective, somber Kate Bush/Sinead O'Connor type sound Lennox typically had in her solo hits. And here I thought the only real rock song Dave put out was "Would I Lie to You?" with The Eurythmics!! "Can't Get You Out of My Head" picks up where "Would I Lie to You?" left off, and it lives up to its title too. I mean what can I say, I can't get this song out of my head!!
"Hard Lesson" by The Burned: This song's been out for about three months now, but it seems like it hasn't gotten too much attention until recently. This song is basically a one chord (E minor) vamp built around a sleek, seductive, T. Rex-y guitar groove (with the exception of the rather grungy bridge in G major), and a slightly psychedelic organ sound in the chorus. Despite the fact that "Hard Lesson" is built around a single chord (well, two chords, really, as C7 is also used, albeit in a subtle manner), it manages to deliver a catchy, memorable hook nonetheless.
"I Might" by Wilco: Wilco has pretty much never failed to amaze me, and their latest, "I Might" is certainly no exception! For starting out as a country-rock group almost 15 years ago, they sure have come a long way!! Ever since their 2003 "breakthrough" album, "Yankee Hotel Foxtrot", they've gone from having a roots-y earthy rock sound to a more experimental one that somehow manages to combine the whimsy of The Beatles, the "anything goes" attitude of The Velvet Underground, and the carefully crafted guitar solos of some of the earlier Steely Dan songs! "I Might" doesn't have the Steely Dan-ish element some of Wilco's material has, but it does start off with a vaguely Velvets-ish guitar hook, and throws in some shiny, cheerful psychedelic organ sounds this side of "Sgt. Pepper" shortly afterwards! Every song Wilco does has a unique flavor to it, and "I Might" only continues in this direction! Way to go Wilco!!
"She Walks In So Many Ways" by The Jayhawks: It only makes sense that a band whose sound is basically a combination of The Byrds and (the mellower material of) The Eagles would also have the name of a bird (hawk) in their name! "She Walks In So Many Ways" really emphasizes the more Byrds-y element of their music, though, with its jangly, echo-y, folk-rock-y sound and well crafted harmonies. The Jayhawks' last major album (among adult alt/indie fans, at least) came out 8 years ago, and had such wonderful songs as the bittersweet "Save It For A Rainy Day", the country-rocker "Tailspin", and the melancholy "All the Right Reasons", which were all great songs. It made me wonder if the 'Hawks were ever going to come out with anything that great again, and if so, when. "She Walks In So Many Ways" would have fit perfectly with the three aforementioned songs. It's a pleasure to listen to, and its bright sunny melodies never fail to make me smile when I hear them!!
"The Way It Goes" by Gillian Welch: Yet another long-awaited "comeback" album (or, in this case, a "breakthrough" album as well) comes from the bittersweet bluegrass songstress Gillian Welch, whose rustic sounds probably make a lot of her more familiar listeners forget she's really an L.A. native (like me!) It was none other than my own father who introduced me to Gillian's music back in my late elementary school years, and a song she did called "Caleb Meyer" had a stark, haunting enough sound that I remember it to this very day! "The Way It Goes" doesn't quite have the same mystique that surrounded "Caleb Meyer", but it does have the basic elements that make Gillian's music so appealing to folks like me. It has rather bare, simple arrangement in its instrumentation, yet it's also captivating, confessional, and distinct enough to be memorable. Frankly I'm quite surprised Gillian hasn't gotten airplay on adult alt stations with any of her other material (with the exception of L.A.'s KCSN).
"Can't Get You Out of My Head" by Dave Stewart: Of the two leading members of The Eurythmics, Annie Lennox, of course, has been the one to have more hits (both with and without the band) and is the more recognizable of the way she looks. Now it's the lesser known member, Dave Stewart's turn to take his stab at the spotlight. And what a fantastic job he does! Stewart's INXS-ish rock and roll sound and energy he puts into "Can't Get You Out of My Head" balances out the more reflective, somber Kate Bush/Sinead O'Connor type sound Lennox typically had in her solo hits. And here I thought the only real rock song Dave put out was "Would I Lie to You?" with The Eurythmics!! "Can't Get You Out of My Head" picks up where "Would I Lie to You?" left off, and it lives up to its title too. I mean what can I say, I can't get this song out of my head!!
"Hard Lesson" by The Burned: This song's been out for about three months now, but it seems like it hasn't gotten too much attention until recently. This song is basically a one chord (E minor) vamp built around a sleek, seductive, T. Rex-y guitar groove (with the exception of the rather grungy bridge in G major), and a slightly psychedelic organ sound in the chorus. Despite the fact that "Hard Lesson" is built around a single chord (well, two chords, really, as C7 is also used, albeit in a subtle manner), it manages to deliver a catchy, memorable hook nonetheless.
"I Might" by Wilco: Wilco has pretty much never failed to amaze me, and their latest, "I Might" is certainly no exception! For starting out as a country-rock group almost 15 years ago, they sure have come a long way!! Ever since their 2003 "breakthrough" album, "Yankee Hotel Foxtrot", they've gone from having a roots-y earthy rock sound to a more experimental one that somehow manages to combine the whimsy of The Beatles, the "anything goes" attitude of The Velvet Underground, and the carefully crafted guitar solos of some of the earlier Steely Dan songs! "I Might" doesn't have the Steely Dan-ish element some of Wilco's material has, but it does start off with a vaguely Velvets-ish guitar hook, and throws in some shiny, cheerful psychedelic organ sounds this side of "Sgt. Pepper" shortly afterwards! Every song Wilco does has a unique flavor to it, and "I Might" only continues in this direction! Way to go Wilco!!
"She Walks In So Many Ways" by The Jayhawks: It only makes sense that a band whose sound is basically a combination of The Byrds and (the mellower material of) The Eagles would also have the name of a bird (hawk) in their name! "She Walks In So Many Ways" really emphasizes the more Byrds-y element of their music, though, with its jangly, echo-y, folk-rock-y sound and well crafted harmonies. The Jayhawks' last major album (among adult alt/indie fans, at least) came out 8 years ago, and had such wonderful songs as the bittersweet "Save It For A Rainy Day", the country-rocker "Tailspin", and the melancholy "All the Right Reasons", which were all great songs. It made me wonder if the 'Hawks were ever going to come out with anything that great again, and if so, when. "She Walks In So Many Ways" would have fit perfectly with the three aforementioned songs. It's a pleasure to listen to, and its bright sunny melodies never fail to make me smile when I hear them!!
"The Way It Goes" by Gillian Welch: Yet another long-awaited "comeback" album (or, in this case, a "breakthrough" album as well) comes from the bittersweet bluegrass songstress Gillian Welch, whose rustic sounds probably make a lot of her more familiar listeners forget she's really an L.A. native (like me!) It was none other than my own father who introduced me to Gillian's music back in my late elementary school years, and a song she did called "Caleb Meyer" had a stark, haunting enough sound that I remember it to this very day! "The Way It Goes" doesn't quite have the same mystique that surrounded "Caleb Meyer", but it does have the basic elements that make Gillian's music so appealing to folks like me. It has rather bare, simple arrangement in its instrumentation, yet it's also captivating, confessional, and distinct enough to be memorable. Frankly I'm quite surprised Gillian hasn't gotten airplay on adult alt stations with any of her other material (with the exception of L.A.'s KCSN).
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