here they are:
"Hunger" by Florence and The Machine: As if by coincidence, the most heavily anticipated song of the week (well, the past two weeks, really) is also the first! And what, might you ask, has given people so much hunger for "Hunger"?! There are probably a few reasons as to why this is. First off, it's Florence and The Machine! Florence Welch, the quirky but sassy British lass who leads the band, has proven she can do pretty much whatever she wants to and make it sound good, so that alone counts as a bonus factor! "Hunger" has the same sorta thing that made songs like "Dog Days Are Over" and "Shake It Out" such enduring songs in FATM's catalog, with its orchestral instrumentation wed to a pop music beat and haunting vocals. Even the opening lyrics, "At 17, I started to starve myself", are both mysterious and morose enough to hook the listener in before the song starts to really take flight. The chorus speaks the most truth of all, though, when Florence passionately pleads that "we all have a hunger". Florence, you have satisfied all our cravings!
"Living In the Future" by Dawes: With each album Taylor Goldsmith and co put out, there's a bit more of a rock and roll element to each of those albums. "Living In the Future" reaches towards the dynamic, arena rock side of the rock and roll spectrum, at least as far as it can go through the lens of a roots-y indie-folk-rock group. To top it all off, Dawes are even opening for 1970's rock group, Electric Light Orchestra, on their tour this summer. How's that for NOT living in the future?! But wait! Just because the sound of this song sounds like it's not that current, doesn't mean the lyrical content is stuck in the past as well! Indeed, this song (and its album, "Passwords") are actually about trying to cope with an increasingly fast paced modern world. The future is looking grim for some. Good thing we have music to save us!
"Samurai Cop (Oh Joy Begin)" by Dave Matthews Band: It's been 6 years since Dave and his band last hit the adult alt radio airwaves. In DMB time, that's such a long time that I thought I'd either never hear from them again or that they wouldn't be as good. Thankfully, I was wrong on both accounts! Their latest song, "Samurai Cop (Oh Joy Begin)" kicks off the return of DMB with a U2-ish bang that U2 themselves seem to be straying further away from (Bono and the boys could sure take a lesson from Dave!) While the sound of "Samurai Cop" has a rather new and exciting sound that doesn't quite reflect on DMB's roots as a folk, jazz, and blues influenced rock group, the lyrical content of the song is a yearning to get back to our roots as a collective entity of lovers, thinkers, and dreamers. "Oh joy, begin", sings Dave during the chorus. My joy has begun, and hopefully, yours has too!
"The Middle" by Trampled by Turtles: Not to be confused with Jimmy Eat World's early '00s power pop anthem, "The Middle", bluegrass influenced rock group, Trampled by Turtles, decided to make their latest song, "The Middle", a rousing, upbeat number. The circumstances under which TBT met to record their newest album was anything but joyful, though, as their decision to record it came about after commiserating about the death of rock icon (and TBT favorite), Tom Petty. "The Middle" doesn't bear much resemblance to Petty's music, but the lyrics could ostensibly be about him, as the song is filled with sad, somber lyrics like, "There's a bitter pill on the other side", "If it does us any good, I cannot see it", and finally, "It makes me die just a little. A little every day." Petty has been sorely missed by many, but sometimes when an old door closes, a new one opens, and Trampled by Turtles might just have found the keys to that new door!
"This Party" by Houndmouth: Houndmouth used to be a country-rock quartet with three guys and one girl. The loss of the one girl, Katie Toupin, must have really thrown the band in a creative slump, as they sound vastly different (and not nearly as good) without her. Whatever traces of country and roots rock Houndmouth once had have been completely lost in their latest song, "This Party", which sounds far more like Walk the Moon or fun. than it does like Dawes or Blitzen Trapper, to whom Houndmouth were initially compared. "This Party" was made to be played at parties, as its title indicates. Given the song's central lyrics, "I don't wanna be at this party", perhaps Houndmouth themselves are a little miffed at the decision Katie has made to leave the group. It's tempting to say that this song might be a desperate grasp at alt-rock radio airplay, except they already HAD that with "Sedona", a song that reflected the band's country-rock roots much more accurately, back in 2015. The pop music vibes of this song, instead, seem to be saying, "Come back, Katie! We need you! Here's how much our music sucks without you in the band!" This is a good song (otherwise, there'd be no point in reviewing it on my website), but come on, guys. I know you can do better than this.
Showing posts with label Trampled by Turtles. Show all posts
Showing posts with label Trampled by Turtles. Show all posts
Wednesday, May 16, 2018
Wednesday, July 23, 2014
New songs for July 23rd, 2014
here they are:
"Are You Behind the Shining Star?" by Trampled by Turtles: Their name is funny, and their music is excellent! I fell in love instantly with Trampled by Turtles' melancholy, bittersweet "Alone", and their calming ode to the road, "Midnight On the Interstate" was almost as good. Their third big song, "Are You Behind the Shining Star?", maintains the rustic, old world charm of their first two hits, and it also sounds more energetic, as if TBT are just now trying to get on to the Mumford and Sons bandwagon. After lead vocalist Dave Simonett opens the lyrics with the title of the song, he asks, "Am I as hopeless as you are?", perhaps indicating that, although this is their happiest SOUNDING song so far, it might not actually BE their happiest song.
"From Now On" by Delta Spirit: Although there is (so far) no such thing as a guitar-less Delta Spirit song, their last two songs to make an impact on adult alt radio stations ("California" and "Tear It Up") focused more on rhythm than on guitar. Their latest song, "From Now On", returns to the guitar-focused sound that Delta Spirit originally had. In spite of the chorus's reassurance that "from now on I'm gonna be your friend", "From Now On" is probably the least friendly sounding Delta Spirit track I've heard so far! The sound of the song tends to evoke the moody indie-pop of both contemporary groups like The National and the even darker sounds of classic indie groups like My Bloody Valentine.
"Scarecrow" by Counting Crows: Though Counting Crows have only released one other album so far in the 2010's, I'd say it's been a great decade for Adam Duritz and his fondly remembered '90s folk-rock group! They tend to be currently focusing on songs with a roots-y Neil Young/Tom Petty type sound, and their latest song, "Scarecrow" is no exception to the rule. The song seems to largely work as an exercise in clever wordplay and quirky lyrics, from its opening lyrics ("Mary steers clear of the men from space"), to its silly but memorable chorus, which varies from "snowman, scarecrow, John Doe, buffalo" to "spaceman, scarecrow, peep show, freak show", but always includes the word "scarecrow".
"Are You Behind the Shining Star?" by Trampled by Turtles: Their name is funny, and their music is excellent! I fell in love instantly with Trampled by Turtles' melancholy, bittersweet "Alone", and their calming ode to the road, "Midnight On the Interstate" was almost as good. Their third big song, "Are You Behind the Shining Star?", maintains the rustic, old world charm of their first two hits, and it also sounds more energetic, as if TBT are just now trying to get on to the Mumford and Sons bandwagon. After lead vocalist Dave Simonett opens the lyrics with the title of the song, he asks, "Am I as hopeless as you are?", perhaps indicating that, although this is their happiest SOUNDING song so far, it might not actually BE their happiest song.
"From Now On" by Delta Spirit: Although there is (so far) no such thing as a guitar-less Delta Spirit song, their last two songs to make an impact on adult alt radio stations ("California" and "Tear It Up") focused more on rhythm than on guitar. Their latest song, "From Now On", returns to the guitar-focused sound that Delta Spirit originally had. In spite of the chorus's reassurance that "from now on I'm gonna be your friend", "From Now On" is probably the least friendly sounding Delta Spirit track I've heard so far! The sound of the song tends to evoke the moody indie-pop of both contemporary groups like The National and the even darker sounds of classic indie groups like My Bloody Valentine.
"Scarecrow" by Counting Crows: Though Counting Crows have only released one other album so far in the 2010's, I'd say it's been a great decade for Adam Duritz and his fondly remembered '90s folk-rock group! They tend to be currently focusing on songs with a roots-y Neil Young/Tom Petty type sound, and their latest song, "Scarecrow" is no exception to the rule. The song seems to largely work as an exercise in clever wordplay and quirky lyrics, from its opening lyrics ("Mary steers clear of the men from space"), to its silly but memorable chorus, which varies from "snowman, scarecrow, John Doe, buffalo" to "spaceman, scarecrow, peep show, freak show", but always includes the word "scarecrow".
Wednesday, October 10, 2012
New songs for October 10th, 2012
here they are:
"All Your Gold" by Bat for Lashes: Natasha Khan, better known as "Bat for Lashes", could be called a 21st century Bjork. She is a mysterious, but strangely charming figure in the music world, whose music is both dark and unpredictable. Her last big song, "Daniel", was a moody, hypnotic combination of electronica and rock, with some classical violins tossed into the mix for good measure. "All Your Gold" retains the mystique that Natasha put into "Daniel", but with even more of a sense of unpredictability. During the first minute or so of "All Your Gold", the listener is led into thinking that he/she won't get much more than a faintly thumping bassline and a light, ticking percussion sound. As "All Your Gold" progresses, though, more instruments (both acoustic and electric guitar, synthesizers, and string sections) get thrown in, and Natasha's voice gets increasingly higher and more dramatic. You never know what you're gonna get in a Bat for Lashes song, and "All Your Gold" continues to prove this!
"Default" by Django Django: And the weirdness continues in our second song of the week, "Default" by Django Django. It isn't just the repetitive name repetitive name of Django Django that makes them "weird". Their song "Default" also has some of the most bizarre mix of instruments (and even vocals) since some of Beck's songs from the mid-'90s! The lyrics don't seem to make a lot of sense either (e.g. "Forget about the cause, press rewind then stop and pause"). Yet, like Beck, Django Django are as out there as they are catchy! "Indie" doesn't always mean "quirky" like it used to, but Django Django are determined to put the "independent" back into "indie". And how!!
"Flavor" by Tori Amos: Been waiting for Tori to put out a song that's both tender and haunting like she did throughout the '90s! She put out quite a bit of material in the '00s, actually, but most of it was largely unnoticed in comparison to gems of hers like "Silent All These Years" and "Cornflake Girl". Tori's inner poet seems to be largely rejuvenated in "Flavor". Instead of writing almost embarrassing attempts to be sexual (like the "M-I-L-F, don't you forget" part of "Big Wheel"), or lyrics that are angst-y but generic ("Welcome to my world of hurt", from "Welcome to England"), Tori is now waxing philosophical about God ("Whose God, then, is God? They all want jurisdiction in this Book of Earth. Whose God spread fear, spread love?"), much like she did in some of her more classic songs like "Crucify" and "God". Unlike some of her peers from the '90s (i.e. Alanis Morissette, Sarah McLachlan, etc.), Tori has continued to attempt to straddle the line between "alternative" and pop music even after the '90s, instead of just going straight for pop. She has struggled along the way, but now, with "Flavor", it seems as though she has finally come full circle!
"Midnight On the Interstate" by Trampled By Turtles: Trampled by Turtles tugged at quite a few heartstrings earlier this year in spring, with their bittersweet song, "Alone". Their second big song, "Midnight On the Interstate", isn't exactly "bittersweet", but it still has the tender, mellow feel of "Alone". There aren't a lot of lyrics in "Midnight On the Interstate", but its beautiful melody and harmonies speak for themselves. Somehow, TBT are able to paint a picture of traveling down the highway in the dead of night just by playing their instruments in "Midnight On the Interstate". The lyrics, of course, are important in the song, but "Midnight On the Interstate" seems like the kind of song that could function just as well with lyrics as it could without.
"Picture This" by Rhett Miller: Whether he's singing about losing his cat ("Murder Or A Heart Attack") or losing his girlfriend ("Every Night Is Friday Night Without You"), the Old '97s frontman never seems entirely happy with anything he sings about, and is often snarky in the process of delivering his lyrics. "Picture This" is a departure from this. The lyrics are completely sincere, and they revolve around "living together happily, never a dull moment" with his girlfriend. The gentle, swaying melody of "Picture This", combined with its earnest, heartfelt lyrics, make the song seem almost nostalgic in a way.
"Santa Ana Wind" by Everclear: Much like Alanis Morissette, Everclear are '90s rockers that usually sound better when they're angry than when they're not. "Santa Ana Wind" is a notable exception to this. Art Alexakis and co aren't trying too hard to be pop-y in "Santa Ana Wind" like they did in "Wonderful" and "AM Radio". It has a catchy enough guitar hook that you would almost expect Art to explode with fury like he did on some of Everclear's best known material like "Santa Monica (Watch the World Die)" and "Father of Mine". But no, "Santa Ana Wind" is mellow throughout. The weird thing is, it actually WORKS here!! No lyrics about "watching the world die", arguments with parents, or "making me feel like a whore" here. Instead, they revolve around things like "Sunshine and Mexican food on a Christmas day", and "almost see(ing) the blue sky in the middle of the day". Some classic Everclear lyrical themes, like escapism from the frustration of everyday life, are present in "Santa Ana Wind", though, and the music, while not "hard" rock, is still rock enough for Everclear's original fans to enjoy it.
"Waiting" by The Whigs: Not to be confused with proto-grunge group The Afghan Whigs, The Whigs are also an interesting brand of alternative rock, but more in the power pop-y direction of Fountains of Wayne or Dandy Warhols (albeit a bit harder edged than both of them). "Waiting" is a pretty simple song, built mostly around A major and D major chord progressions, and not much else. While its nothing new, it doesn't mean that "Waiting" isn't an enjoyable song! It still boasts an incredible riff and passionate vocals, enough to get stuck in one's head at the end of the day!
"All Your Gold" by Bat for Lashes: Natasha Khan, better known as "Bat for Lashes", could be called a 21st century Bjork. She is a mysterious, but strangely charming figure in the music world, whose music is both dark and unpredictable. Her last big song, "Daniel", was a moody, hypnotic combination of electronica and rock, with some classical violins tossed into the mix for good measure. "All Your Gold" retains the mystique that Natasha put into "Daniel", but with even more of a sense of unpredictability. During the first minute or so of "All Your Gold", the listener is led into thinking that he/she won't get much more than a faintly thumping bassline and a light, ticking percussion sound. As "All Your Gold" progresses, though, more instruments (both acoustic and electric guitar, synthesizers, and string sections) get thrown in, and Natasha's voice gets increasingly higher and more dramatic. You never know what you're gonna get in a Bat for Lashes song, and "All Your Gold" continues to prove this!
"Default" by Django Django: And the weirdness continues in our second song of the week, "Default" by Django Django. It isn't just the repetitive name repetitive name of Django Django that makes them "weird". Their song "Default" also has some of the most bizarre mix of instruments (and even vocals) since some of Beck's songs from the mid-'90s! The lyrics don't seem to make a lot of sense either (e.g. "Forget about the cause, press rewind then stop and pause"). Yet, like Beck, Django Django are as out there as they are catchy! "Indie" doesn't always mean "quirky" like it used to, but Django Django are determined to put the "independent" back into "indie". And how!!
"Flavor" by Tori Amos: Been waiting for Tori to put out a song that's both tender and haunting like she did throughout the '90s! She put out quite a bit of material in the '00s, actually, but most of it was largely unnoticed in comparison to gems of hers like "Silent All These Years" and "Cornflake Girl". Tori's inner poet seems to be largely rejuvenated in "Flavor". Instead of writing almost embarrassing attempts to be sexual (like the "M-I-L-F, don't you forget" part of "Big Wheel"), or lyrics that are angst-y but generic ("Welcome to my world of hurt", from "Welcome to England"), Tori is now waxing philosophical about God ("Whose God, then, is God? They all want jurisdiction in this Book of Earth. Whose God spread fear, spread love?"), much like she did in some of her more classic songs like "Crucify" and "God". Unlike some of her peers from the '90s (i.e. Alanis Morissette, Sarah McLachlan, etc.), Tori has continued to attempt to straddle the line between "alternative" and pop music even after the '90s, instead of just going straight for pop. She has struggled along the way, but now, with "Flavor", it seems as though she has finally come full circle!
"Midnight On the Interstate" by Trampled By Turtles: Trampled by Turtles tugged at quite a few heartstrings earlier this year in spring, with their bittersweet song, "Alone". Their second big song, "Midnight On the Interstate", isn't exactly "bittersweet", but it still has the tender, mellow feel of "Alone". There aren't a lot of lyrics in "Midnight On the Interstate", but its beautiful melody and harmonies speak for themselves. Somehow, TBT are able to paint a picture of traveling down the highway in the dead of night just by playing their instruments in "Midnight On the Interstate". The lyrics, of course, are important in the song, but "Midnight On the Interstate" seems like the kind of song that could function just as well with lyrics as it could without.
"Picture This" by Rhett Miller: Whether he's singing about losing his cat ("Murder Or A Heart Attack") or losing his girlfriend ("Every Night Is Friday Night Without You"), the Old '97s frontman never seems entirely happy with anything he sings about, and is often snarky in the process of delivering his lyrics. "Picture This" is a departure from this. The lyrics are completely sincere, and they revolve around "living together happily, never a dull moment" with his girlfriend. The gentle, swaying melody of "Picture This", combined with its earnest, heartfelt lyrics, make the song seem almost nostalgic in a way.
"Santa Ana Wind" by Everclear: Much like Alanis Morissette, Everclear are '90s rockers that usually sound better when they're angry than when they're not. "Santa Ana Wind" is a notable exception to this. Art Alexakis and co aren't trying too hard to be pop-y in "Santa Ana Wind" like they did in "Wonderful" and "AM Radio". It has a catchy enough guitar hook that you would almost expect Art to explode with fury like he did on some of Everclear's best known material like "Santa Monica (Watch the World Die)" and "Father of Mine". But no, "Santa Ana Wind" is mellow throughout. The weird thing is, it actually WORKS here!! No lyrics about "watching the world die", arguments with parents, or "making me feel like a whore" here. Instead, they revolve around things like "Sunshine and Mexican food on a Christmas day", and "almost see(ing) the blue sky in the middle of the day". Some classic Everclear lyrical themes, like escapism from the frustration of everyday life, are present in "Santa Ana Wind", though, and the music, while not "hard" rock, is still rock enough for Everclear's original fans to enjoy it.
"Waiting" by The Whigs: Not to be confused with proto-grunge group The Afghan Whigs, The Whigs are also an interesting brand of alternative rock, but more in the power pop-y direction of Fountains of Wayne or Dandy Warhols (albeit a bit harder edged than both of them). "Waiting" is a pretty simple song, built mostly around A major and D major chord progressions, and not much else. While its nothing new, it doesn't mean that "Waiting" isn't an enjoyable song! It still boasts an incredible riff and passionate vocals, enough to get stuck in one's head at the end of the day!
Wednesday, March 14, 2012
New songs for March 14th, 2012
here they are:
"Alone" by Trampled by Turtles: The name ALONE of this band is enough to make me like them!! Anyway, this is one of two "bluegrass rock" songs I'm reviewing this week, though they are very distinct from one another. This song is by FAR the more relaxed of the two. It recalls bluegrass instrumentation, while also bringing to mind the arpeggiated patterns of many a folk-rock song. The peak of "Alone" is probably towards the middle of it, in which the fiddle section swells up to the point of sounding like a full blown orchestra. The fiddles are actually the most intense instruments used in "Alone" (though they are probably also the most enjoyable part of it).
"Country Girl" by Carolina Chocolate Drops: As if by coincidence, this is the second out of two "bluegrass rock" songs I'm reviewing this week! The Chocolate Drops seem to add a bit of "hipness" into the few songs I've heard from them so far, whether by covering a song from early '00s pop chanteuse Blu Cantrell ("Hit 'Em Up Style"), or, in this case, adding a slight bit of hip-hop influence to an otherwise bluegrass-y song. The Carolina Chocolate Drops' lead vocalist is also quite talented in terms of her singing range. The CCD's lead singer might be telling a story about how she was raised a "country girl", but I think she enjoys mixing a bit of city life into this song for good measure. Sure makes for a unique, memorable song!
"Isn't That So?" by Lyle Lovett: A man of many talents, you never know what kind of Lyle Lovett song you're gonna get next! His musical style ranges from country, jazz, vocal standards, rock, blues, folk, and more (and, in addition, he is also a skilled actor). I tend to prefer Mr. Lovett when he's more energetic, though, and "Isn't That So?" most CERTAINLY is!! It starts out with a vaguely country-ish acoustic guitar emulating the beat of The Fixx's "One Thing Leads to Another", but the brass section, drums, and electric guitar kick in merely seconds later. The lyrics are typical for Lyle Lovett, concerning relationship advice, but the musical aspects of "Isn't That So?" are fantastic! Makes me think Lyle and his band are probably really good live with the instrumentation they have set up for this song!
"Revolution" by Dr. John: In Louisiana, Mac Rebennack, better known by his stage name, "Dr. John", is a living legend! His mix of blues, jazz, and rock 'n' roll are often combined into a spicy musical gumbo that New Orleans just can't seem to get enough of! Outside of Louisiana, Dr. John is best known for his lone classic rock radio hit, "Right Place, Wrong Time". That being said, this is probably the first time since that song came out (which was back in 1972), that he's gotten this much attention for a song of his, rather than his performances! His latest song, "Revolution" (not to be confused for the Beatles song of the same name), somehow manages to combine the swampy '50s blues-rock sound of Screamin' Jay Hawkins with the "retro soul" sound of people like Amy Winehouse. The organ solo in the middle of this song is both the most exotic and most enjoyable part of this song! It's a fun sounding song, but the lyrical content strays far from the stream-of-consciousness vibe of "Right Place, Wrong Time", and instead focuses more on protesting the current state of politics and religion. But still, it's one of the most distinct sounding songs so far of the 21st century, and that's something worth listening to!!
"Towers" by Bon Iver: A bit more uptempo than most of Bon Iver's material, "Towers" almost seems like Simon and Garfunkel's "The Boxer" with a Snow Patrol-ish "softened" electric guitar sound instead of an acoustic guitar sound. It has a similar rhythm and use of backing instruments (though I can't quite tell if that's a sax or a harmonica playing in the background of "Towers"). "Towers" has enough of its own type of sound that it doesn't sound like a "ripoff" of "The Boxer". As a matter of fact, it changes key from E major in the beginning, to a D major towards the end, and usually songs don't change key very much these days. In some ways, "Towers" might just be one of the folk-iest songs, lyrically, that Bon Iver have ever done, what with its references to Norse mythology ("F**k the fiercest fables I'm with Hagen", which also uses alliteration with the letter "F"), and even classic, well-known fairy tales ("In the towers of your honeycomb, I'd a' tore your hair out just to climb back darling", referring to Rapunzel...hmmmm...wonder if Justin Vernon watched "Tangled" right before writing this song!!) In days of old, it was usually heavier rock bands (albeit with folk influence) that typically referenced mythology, like Led Zeppelin and Jethro Tull. Bon Iver's references to folklore and fables, combined with the pleasant atmosphere of the song, almost make this seem like a children's lullaby (except for his use of the "f" word towards the middle). A fantastic song, as usual, from the indie rock band whose name is an intentional misspelling of the French way of saying "good winter"!
"Alone" by Trampled by Turtles: The name ALONE of this band is enough to make me like them!! Anyway, this is one of two "bluegrass rock" songs I'm reviewing this week, though they are very distinct from one another. This song is by FAR the more relaxed of the two. It recalls bluegrass instrumentation, while also bringing to mind the arpeggiated patterns of many a folk-rock song. The peak of "Alone" is probably towards the middle of it, in which the fiddle section swells up to the point of sounding like a full blown orchestra. The fiddles are actually the most intense instruments used in "Alone" (though they are probably also the most enjoyable part of it).
"Country Girl" by Carolina Chocolate Drops: As if by coincidence, this is the second out of two "bluegrass rock" songs I'm reviewing this week! The Chocolate Drops seem to add a bit of "hipness" into the few songs I've heard from them so far, whether by covering a song from early '00s pop chanteuse Blu Cantrell ("Hit 'Em Up Style"), or, in this case, adding a slight bit of hip-hop influence to an otherwise bluegrass-y song. The Carolina Chocolate Drops' lead vocalist is also quite talented in terms of her singing range. The CCD's lead singer might be telling a story about how she was raised a "country girl", but I think she enjoys mixing a bit of city life into this song for good measure. Sure makes for a unique, memorable song!
"Isn't That So?" by Lyle Lovett: A man of many talents, you never know what kind of Lyle Lovett song you're gonna get next! His musical style ranges from country, jazz, vocal standards, rock, blues, folk, and more (and, in addition, he is also a skilled actor). I tend to prefer Mr. Lovett when he's more energetic, though, and "Isn't That So?" most CERTAINLY is!! It starts out with a vaguely country-ish acoustic guitar emulating the beat of The Fixx's "One Thing Leads to Another", but the brass section, drums, and electric guitar kick in merely seconds later. The lyrics are typical for Lyle Lovett, concerning relationship advice, but the musical aspects of "Isn't That So?" are fantastic! Makes me think Lyle and his band are probably really good live with the instrumentation they have set up for this song!
"Revolution" by Dr. John: In Louisiana, Mac Rebennack, better known by his stage name, "Dr. John", is a living legend! His mix of blues, jazz, and rock 'n' roll are often combined into a spicy musical gumbo that New Orleans just can't seem to get enough of! Outside of Louisiana, Dr. John is best known for his lone classic rock radio hit, "Right Place, Wrong Time". That being said, this is probably the first time since that song came out (which was back in 1972), that he's gotten this much attention for a song of his, rather than his performances! His latest song, "Revolution" (not to be confused for the Beatles song of the same name), somehow manages to combine the swampy '50s blues-rock sound of Screamin' Jay Hawkins with the "retro soul" sound of people like Amy Winehouse. The organ solo in the middle of this song is both the most exotic and most enjoyable part of this song! It's a fun sounding song, but the lyrical content strays far from the stream-of-consciousness vibe of "Right Place, Wrong Time", and instead focuses more on protesting the current state of politics and religion. But still, it's one of the most distinct sounding songs so far of the 21st century, and that's something worth listening to!!
"Towers" by Bon Iver: A bit more uptempo than most of Bon Iver's material, "Towers" almost seems like Simon and Garfunkel's "The Boxer" with a Snow Patrol-ish "softened" electric guitar sound instead of an acoustic guitar sound. It has a similar rhythm and use of backing instruments (though I can't quite tell if that's a sax or a harmonica playing in the background of "Towers"). "Towers" has enough of its own type of sound that it doesn't sound like a "ripoff" of "The Boxer". As a matter of fact, it changes key from E major in the beginning, to a D major towards the end, and usually songs don't change key very much these days. In some ways, "Towers" might just be one of the folk-iest songs, lyrically, that Bon Iver have ever done, what with its references to Norse mythology ("F**k the fiercest fables I'm with Hagen", which also uses alliteration with the letter "F"), and even classic, well-known fairy tales ("In the towers of your honeycomb, I'd a' tore your hair out just to climb back darling", referring to Rapunzel...hmmmm...wonder if Justin Vernon watched "Tangled" right before writing this song!!) In days of old, it was usually heavier rock bands (albeit with folk influence) that typically referenced mythology, like Led Zeppelin and Jethro Tull. Bon Iver's references to folklore and fables, combined with the pleasant atmosphere of the song, almost make this seem like a children's lullaby (except for his use of the "f" word towards the middle). A fantastic song, as usual, from the indie rock band whose name is an intentional misspelling of the French way of saying "good winter"!
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