New songs for November 3rd 2021

 here they are:


"Fisher Island Sound" by Beirut: After about a decade experimenting with more electronic material, Beirut return to the combination of indie-folk Eastern European music that made them popular among their original audience back in the mid-2000's. Named after the Connecticut location where band member Ben Lanz grew up, "Fisher Island Sound" is something of an exercise in nostalgia for Beirut which dates all the way back to when they first formed as a band. The prominent use of accordion in the song is partially due to how fellow bandmate Perrin Cloutier was newly self-taught at playing the instrument at the time the song was first written. However, not all of the song has warmth and fuzziness to it, as it also serves as a reminder for lead singer Zach Condon about how he struggled to put vocals onto the initial recording of "Fisher Island Sound" due to personal bouts with negative emotions he had during that time. 

"Magnificent Hurt" by Elvis Costello: A master of his craft even into his sexagenarian years, Elvis Costello sounds just as righteously ticked off on his latest song, "Magnificent Hurt," as he did on nearly all of his songs from the mid to late 1970's! With its jagged guitars, bright keyboards, and "take that" lyrics, "Magnificent Hurt" wears its heart on its sleeve, but more in a furious way than in a sad one. This song makes it clear he is not going down without a fight. The "you" in the song is more than likely an ex-lover, but it could almost as easily be applied to society as a whole, or perhaps to certain political figures as well. The title of this song pretty much says it all. Whoever (or whatever) has caused Elvis Costello to be in such a bitter state has indeed caused him to feel magnificently hurt, but instead of bearing the cross of pain, he shoots it right back into his victim's face!

"Never Leave You" by The Record Company: "Never Leave You" continues in the blues-rock direction The Record Company usually goes in, but with a decidedly different approach. Much like The Rolling Stones' "Miss You" mixed blues-rock with disco, The Record Company's "Never Leave You" appears to be doing the same thing! I don't remember hearing anything quite so funky from The Record Company before, but they appear to be pretty good at it. The recurring phrase, "California sun," is in there because The Record Company are a Southern Californian band, and the references to things like Cadillacs and riding along with someone make me think this was probably meant to be a road trip song. These guys are too cool for school, I must say!

"The Hardest Cut" by Spoon: Spoon have dabbled in many styles of rock, ranging from post-punk to folk-rock to pop/rock, but they've never taken on blues-rock quite like they have with their latest song, "The Hardest Cut"! With both a beat and a guitar sound reminiscent of groups like The Black Keys, "The Hardest Cut" puts longtime indie-rock faves, Spoon, in a new direction, but one that their fans seem to be open to, thankfully. It's also the rare Spoon song with a prominent guitar solo, which was apparently inspired by groups like ZZ Top. As Spoon typically take their sound from either "lite-rock" faves like Fleetwood Mac and Steely Dan or more eccentric rock from roughly the same era like Elvis Costello and Talking Heads, the decision to make a blues-rock song might come as a surprise to Spoon fans, but with "The Hardest Cut," Britt Daniels and the boys prove they can boogie down with the best of 'em!

New songs for July 14th 2021

 here they are:


"How High" by The Record Company: The Record Company have always had a "retro" rock sound that was heavily blues-based ever since they debuted in 2016. This time around, it seems like they're specifically trying to emulate the sound of other successful latter-day blues-rockers like The Black Keys. For those wondering, "high" is not a drug metaphor in the context of this song. It instead taken to mean something more literal here, about reaching for your aspirations and accomplishing them. I'd say that The Record Company have already met their goals, though!

"How Low" by Heartless B*st*rds: So what is the opposite of "How High"? The answer, of course, is "How Low"! That just happens to be the title of our next song here, coincidentally. Fittingly, the song is a bit more low-key than the high energy of "How High." In spite of their "tough" sounding name, Heartless B*st*rds are really a pretty harmless, folk-rock-y band, whose name is only indicative of their humor. (They named themselves after an answer a game show contestant gave for the name of Tom Petty's backing group). In addition to the song's title, "How Low" also seems like the lyrical opposite to "How High," given how the song is basically a lament about modern-day pop culture and how no one seems to care about one another anymore.

"Mine Forever" by Lord Huron: A song awash with equal flavors of psychedelia, folk-rock, prog-rock, and country-rock, "Mine Forever" is a new song that seems like it came from the days of old. The pleasant, curious vibes of the song are a bit offset by its seemingly creepy lyrics, though. It's hard to tell if Ben Schneider is being serious or sarcastic in the lyrics of this song, but if it is not supposed to be sarcastic, then it reads as a super-desperate plea for him to get his lover back into his life. "In my mind, you're mine forever" might seem like a sweet line, but the more Ben adds morbid lyrics into the song, the more you think his "without you, I'll die" sentiments are more like possession than they are true love. "Forever" is a long, long time to want to be with someone. Don't take your chances, here folks!

"New Invention" by I Don't Know How But They Found Me: Is "New Invention" really a new invention?! It has the same key (D minor) as their other hit, "Leave Me Alone," and the same 1980's synth-influenced dance-pop sound, too. The lyrics aren't anything new either, but one thing they are is very relatable to anyone who has had to deal with the trials and tribulations of relationships! The song is basically about a girl who is using the lead singer. She keeps finding ways to trap him, and he is just a "new invention." The title makes for a somewhat strange metaphor for someone who feels romantically abused, but it's definitely gonna be a song that you'll want for your next breakup playlist!

"Now is the Time" by Jade Bird: This song seems like a very sunny folk-rock tune in comparison to the more dour ones Jade Bird usually puts out. The combination of acoustic guitars and what might be 12-strings in the background in the key of G setting forth a jangly strum seems a lot like "Here's Where the Story Ends" by The Sundays, but happier. As is typical of Bird's material, some of the lyrics to "Now is the Time" are a bit angst-ridden, but the overall message is a positive one: if you want something, go get it! It's tricky to tell if this is a song dispensing good advice or if it's a clever kiss-off to an ex disguised as a song of inspiration (see also "Good Riddance [Time of Your Life]" by Green Day). Whatever the intent, though, Now is the Time to hear this song!

"Rae Street" by Courtney Barnett: I'm sure Courtney Barnett has had more than one person liken her to a modern-day Patti Smith, but on Courtney's latest song, "Rae Street," the Patti influence really shows! It doesn't sound too dissimilar to Patti's "Dancing Barefoot," especially in the beginning. The "urban poetry" vibe of the lyrics also seems like it could be a Patti homage, though I'm sure it's being written from Courtney's own point of view as well. The song seems to tell the tale of a sort of "day-in-the-life" scenario, sung with deadpan vocals as Courtney typically does. 

New songs for September 19th 2018

here they are:


"Make It Happen" by The Record Company: The uniquely catchy blues-rock of The Record Company has won the band scores of hits on adult alt radio, and with "Make It Happen", the hits just keep on comin'! Using stomping electric guitar riffs and blues-y slide guitar riffs, "Make It Happen" does exactly as its title says! The song is an exhilarating thrill ride for the ears from start to finish, and as its speed picks up towards the middle, it just becomes that much more of a thrill for the listener. In short, "Make It Happen" really does make it happen! Well worth listening to!


"Tranquility Base Hotel and Casino" by Arctic Monkeys: Arctic Monkeys hit it big in spring and early summer of this year with "Four Out of Five", which was frequently compared to David Bowie. The title track to their latest album, "Tranquility Base Hotel and Casino", continues in a Bowie-esque direction. The mysterious yet alluring sound of the song wouldn't be out of character for the Thin White Duke (although then again, what would?!) "Tranquility Base..." has a sort of eerie sci-fi vibe to it in terms of how it sounds. Lyrically, it plays out like a "Hotel California" for goth and post-punk fans, centering around a most likely metaphorical hotel of questionable service.

New songs for April 25th 2018

here they are:


"Bad Dreams" by Pete Yorn and Scarlett Johannson: Folk-rocker Pete Yorn and actress turned singer extraordinaire Scarlett Johansson have duetted before, but it's been almost a decade since they last did so. I never thought I'd hear the two of them after their 2008 song, "Relator", but now here they are together again. This time, the two opt for a cover of a song by indie-pop group, The Echo Friendly, and for some reason, the song has been retitled from "Worried" to "Bad Dreams". (It's not the first time this has been done. When Southern rock group Molly Hatchet covered The Allman Brothers' "Dreams", they retitled it as "Dreams I'll Never See", even though the two songs were actually the same one). Further immersing himself in the works of the indie pop groups he probably inspired, Pete Yorn adds a dark but catchy indie pop flavor to "Bad Dreams" that seems to stray a bit from the folk-rock he did when his career first started out. "We will always have bad dreams", Yorn and Johannson sing together in harmony during the chorus. I think The Echo Friendly's bad dreams have become a reality since someone took their song and changed its title!


"Fine Line" by Parker Millsap: Parker Millsap first arrived onto the adult alt airwaves two years ago, with a fun, charming acoustic rock song called "Pining" that easily brought to mind early Elvis Presley tunes. With "Fine Line", Parker continues churning out retro rock, but this time he goes one decade forward and amps it up a bit, bringing to mind the blues-ier side of groups like The Rolling Stones and Led Zeppelin, a bit like The White Stripes had done as their career started to progress. "Honey I don't bite", Parker yowls during the chorus, "I'm just a little bloodthirsty". No, Parker hasn't been reading too many "Twilight" books (thankfully), he's just using a strange yet appealing metaphor to describe a typical day in the life of a rock and roll musician!


"Guilty Party" by The National: The National made two of their most rockin' tunes yet on their latest album, with the fast paced, frantic, "The System Only Dreams In Total Darkness", as well as the U2-esque, "Day I Die". Their third single from "Sleep Well Beast", "Guilty Party", dials things back a bit. "Guilty Party" depends more on keyboard than it does guitar, and it's noticeably softer than the other two songs as well. It's as though Matt Berninger partied too hard at first, and that this song was the aftermath. "Guilty Party", as its title implies, sounds sorrowful and somber. The National are known for being one of the more pessimistic groups in the indie scene, but this might be their saddest one yet.


"In Chains" by The War on Drugs: The National aren't the only band coming up on their third single from their latest album. The War on Drugs are as well, and this time around, Kurt Vile and his Pennsylvanian indie rock ensemble once again walk the line between Springsteen-esque arena rock and Roxy Music influenced prog-rock and sophisti-pop. The three singles from The WOD's latest album could be seen as a trilogy of sorts, each spiraling further downward into despair than the other. There was the hopeful "Holding On", the bitter sting of "Pain", and now it seems to be culminating in the realization of being "In Chains" as a result of all the negative emotions Kurt Vile is going through in this song. Out of the darkness comes light, though, as Kurt has been able to take all his frustration and turn it into aching, bittersweet beauty in his 7 and a half minute magnum opus, "In Chains".


"Just A Fool" by Jim James: Opening with a fuzzed out, Jack White-ish guitar solo, My Morning Jacket's Jim James' latest song, "Just A Fool", deals with the realization of just how foolish Jim feels as a member of contemporary American society, a theme that recurs throughout his latest album. Jim claims he's "just a fool gettin' by" in this song, but the struggle to "get by" is not one he shrugs off too easily, feeling cheated and used by the media and its spread of fast but often false information. Jim, you're no fool at all! Everyone else is!


"Life to Fix" by The Record Company: The most anticipated song of the week on adult alt radio is also the blues-iest and most upbeat! The Record Company are like the Black Crowes of the 2010's, out of step with current musical trends, but embracing blues-rock with such unabashed passion that people can't help but love them anyway! Their latest song, "Life to Fix", has a blues-y Southern rock groove that wouldn't sound out of place in an Allman Brothers or early ZZ Top song, except The Record Company aren't from the South. In fact, this blazin' rock trio are actually from my neck of the woods, Los Angeles! Maybe you don't have to be from a certain area of The States to appreciate what real rock and roll is all about! Oh, and dig those funky bass riffs in the opening, too!


"Love Is Bigger Than Anything In Its Way" by U2: U2 might not have had a consistently good ALBUM since 2004, but they have been able to provide some powerful songs since then, and their latest song, "Love Is Bigger Than Anything In Its Way", just happens to be one of them. The message of the song is simple, but still very universal. It's the old "love conquers all" adage, essentially, put to song. Leave it to Bono and the boys to continue the spread of peace and love through difficult times!

New songs for March 22nd, 2017

here they are:


"Baby I'm Broken" by The Record Company: Their debut album's only a year old, and already blues-rock outfit, The Record Company, are hot on the heels of a brand new album for this year! Perhaps this was a result of songs like the saucy "Off the Ground" and the sizzlin' "Rita Mae Young" becoming such big hits on adult alt radio stations. The Record Co's third big song, "Baby I'm Broken", seems poised to do the same as its predecessors, and for the same reasons as well. In a year when rock and roll had continued to diminish into a desert island, The Record Company satisfied the thirst of classic rock and blues-rock fans everywhere, and that is why they became such a big hit with their listeners! "Baby I'm Broken" is twice the rock and twice the roll, with a fuzz soaked blues-y sound and vamp that probably brings bands like The Black Keys to mind.


"Restart" by BNQT: Banquet?! No, I think that "Bee-En-Kyoo-Tee", the individual letters of the band's name, is how you pronounce this one, although supposedly, "Banquet" was the original name of the band. BNQT are actually an indie-rock supergroup featuring members of Band of Horses, Grandaddy, Travis, and Franz Ferdinand, the first two of whom collaborated on a Christmas song together a few years back (I suppose that's how they know each other). Anyway, their debut song, "Restart", has a rather T. Rex-ish glam rock groove that none of the other bands the members are in have really achieved aside from possibly Franz Ferdinand. The song's chorus states that, "We could all use a restart". I would say that the phrase "throwback" is more accurate in terms of describing this song than "restart" is, but there's nothing wrong with a good throwback once in a while!

New songs for August 3rd, 2016

here they are:


"Bleeding Heart" by Regina Spektor: Is it just me, or has Regina Spektor gotten more synth-heavy lately?! Her latest song, "Bleeding Heart" certainly seems to indicate this. This sounds a bit more like a latter-day Lily Allen song than it does like something from quirk-folk queen Regina Spektor. Part of Regina's charm initially was her unabashed love of composing Tori Amos-esque tunes during a time when it wasn't exactly "hip" to do so. Of course, offbeat lyrics are another part of what makes Regina so fascinating to listen to, and those are present on "Bleeding Heart". The chorus simply consists of the phrases "never mind" and "bleeding heart" repeated a few times, which seems like a pretty Regina-esque thing to do. "Bleeding Heart" leaves something more to be desired, though. I was expecting something either more sad or more enjoyably weird, and "Bleeding Heart" is neither.


"Let Love Be (With U)" by Kula Shaker: Ah, to be a part of a British rock group in the '90s. Oasis and Radiohead reigned supreme in the middle of the decade. Millions of other names in British rock of the '90s went under the radar, though, and Kula Shaker were one such band. Much like Oasis, Kula Shaker were a band that were more indebted to timeless upbeat classic rock during a time of gloomy alternative rock. Kula Shaker even covered Deep Purple's "Hush" and seemed to have a minor hit with it too. "Let Love Be (With U)" has a retro flavor as well, but its sound is more blue-eyed soul (white R & B) than it is rock. It has a happy, toe tapping sound defined by brass and rhythm, and the electric guitar takes a backseat until towards the end of the song. Kula Shaker were never a product of their times, but that's probably why their small but significant fanbase likes them.


"Rita Mae Young" by The Record Company: One of the biggest shocks of the year was to know that a song that wouldn't have sounded out of place among Rolling Stones and Led Zeppelin songs was one of THE top selling adult alt songs of the year ("Off the Ground"). "Rita Mae Young" is a lighter song than "Off the Ground", but its smoky, gritty, soulful sound would probably still appeal to fans of '60s rock. This song really puts the "blues" in blues-rock. The lead singer of The Record Company mourns the loss of his relationship with a woman named Rita Mae Young throughout the song, but does so in such a way that it becomes upbeat instead of sad. What a way to sing the blues!

New songs for January 20th 2016

here they are:


"(Baby) Hold On" by The James Hunter Six: Could it be?! Have The James Hunter Six, who probably fooled many people into thinking they were both black and from the mid 1960's (neither of which would be true, despite how their music sounds), gone even further back in time than they did three years ago?! Well, with the release of their latest song, "(Baby) Hold On", not to be confused with a similarly named song by Eddie Money, it appears that they have gone further back in time than the '60s! James has pulled a Nick Waterhouse on us, evoking a sultry jazz-rock sound that wouldn't seem out of place in a "James Bond" film! Both the guitars and the saxes absolutely wail on this song! Perhaps one of the biggest treats, though, is how this song (and its album) are being produced by Daptone Records, a record company that is most famous for producing songs by another '60s soul revival styled group, Sharon Jones and The Dap-Kings. This oughta be good!


"Don't You Give Up On Me" by Lissie: This song marks a turning point in Lissie's career. The 33-year-old folk-rocker typically has songs filled with some combination of angst and urgency, especially the Alanis Morissette-esque "Shameless". "Don't You Give Up On Me" is the first Lissie song I have heard that strives more for vibes of positivity than urgency. No one seems to know what Lissie's life has been like outside of the studio, but with her lyrics almost always indicating frustration with her love life, she's probably been through a lot. Perhaps "Don't You Give Up On Me" is about trying to change direction and make a new start, as there doesn't seem to be even a hint of dissatisfaction with romance in the lyrics. I guess we'll find out, won't we?!


"Lost Weekend" by Pete Yorn: No, "Lost Weekend" is not a reference to that time in John Lennon's life when he spent more time with May Pang than he did with Yoko Ono, for those who may be wondering. Instead, the title is a reference to Yorn's life in and of itself. The New Jersey folk-rocker has now hit his early 40's (can you believe it?!), and "Lost Weekend" is basically about how you should hold on to the good things and good times while they last. With me being just two years shy of my 30's, I can certainly relate to this song! It really is amazing just how quickly life can pass you by!


"Love Me" by The 1975: As Joni Mitchell once said, "You don't know what you've got 'till it's gone". Those lyrics could very well apply to this song, which came out just 3 months before David Bowie's death and sounds an awful lot like the late British rocker's song, "Fame". The members of The 1975 probably weren't even thinking about the possibility of David Bowie's life being on the brink when they released "Love Me", yet with the song's main riff bearing an uncanny resemblance to "Fame", it makes for quite a powerful tribute song, even if they didn't plan it that way! Another thing is that "Fame" came out in the year 1975. Perhaps The 1975 are trying to sound like the YEAR 1975?! You just never can tell, can you?! Also, there's one more thing for Bowie fans (or fans of any good music, really) to like about this song. One of the lyrics openly mocks Kim Kardashian, referring to her (and her fashion) as "Karcrashian"!!


"Off the Ground" by The Record Company: The Record Company?! WHICH Record Company?! WB?! Elektra?! Capitol Records?! Nope, just a band whose name happens to be "The Record Company". Whichever company/-ies the band's name is a reference to must be a lowdown and funky one, judging from the sound of their debut single, "Off the Ground"!! Whoo! Following in the footsteps of such 2010's blues-rock sensations as The Black Keys, Alabama Shakes, and Gary Clark Jr., The Record Company seem to have a knack for layin' down the blues in a sizzling, dirty style! The guitar has a burnin', smoky sound, but that bass has such a swingin', seductive hook as well! Should have pretty immediate appeal to fans of The Rolling Stones, Cream, Jimi Hendrix, and Led Zeppelin. Rock and roll is alive!!


"Wipeout Turn" by Big Head Todd and The Monsters: And speaking of classic rock, '90s rock sensations Big Head Todd and The Monsters seem to be getting back to their Dire Straits/Los Lobos-esque roots with their latest song, "Wipeout Turn". The band were best known for their "alternative" folk-rock ballads like "Bittersweet" and "Resignation Superman", which often garnered them comparisons to groups like The Wallflowers and Counting Crows during their heyday. Big Head Todd and The Monsters have some blues-y chops that often go sorely unnoticed, though. Todd "Big Head Todd" Park Mohr, the band's namesake, may not be anyone's idea of the next Hendrix or Clapton, but he can still rock it. "Wipeout Turn" actually has one of Big Head Todd and The Monsters' best guitar solos I've heard in quite some time, actually, with its one and a half minutes of just the right amount of precision and speed bringing the song to a quick, scorchin' end!