here they are:
"A Memo" by Robert Cray: The man behind the mid-'80s blues-rock song, "Smoking Gun", is back again. He gave us a similar song to "Smoking Gun" ("Won't Be Coming Home") last summer. His latest song, "A Memo", still has that "clean polished" blues-rock vibe behind it, but somehow it feels more like an authentic brand of blues than "(Won't Be) Coming Home" did. Plenty of tasty blues-y guitar licks to be found in "A Memo", as well as its organs backing it up to give it that "vintage soul" flavor. A title like "A Memo" makes it sound like an urgent song, but it's actually a love song. Dunno where Robert Cray came up with the title for this song, but at least the song itself is decent material.
"Demons" by Imagine Dragons: One of the most major (and unexpected) smashes of 2012 came from Imagine Dragons, in the form of the transcendental sounding alt-pop song, "It's Time". Since then, I've heard quite a few more songs from the oddly named Imagine Dragons ("Radioactive", "Amsterdam", "Round and Round"), yet only one other song of theirs (so far) has made it on to the adult alt airwaves, and that is their song "Demons". It honestly puzzles me to think that "Demons" is only ID's second adult alt radio hit, since the other songs I named are equally compelling ("Radioactive" has even become a hit on regular alt stations). The title alone of "Demons" indicates it's kind of a downer song, lyrically, and it certainly turns out to be that upon listening to it (especially with such cynical lyrics as, "No matter what we breed, we are still made of greed"). A far cry from the "I'm never changing who I am", positive atmosphere of "It's Time", but still a great song!
"Good Things Happen to Bad People" by Richard Thompson: Richard Thompson is, in some ways, like Neil Young's lesser-known counterpart from the British isles. He doesn't usually rock as hard as Neil does, but he does tend to drift between doing acoustic and electric guitar songs (interestingly, Thompson's newest album is even CALLED "Electric"). "Good Things Happen to Bad People" has a sound that's closer to acoustic than electric, though (except during the solo, which is somewhat Neil Young-ish), despite its album's title. Richard's songs usually have engaging, creative narratives (one of his best being "1952 Vincent Black Lightning", about an ill-fated romance that occurs because of the mutual love that the song's characters share for a vintage motorcycle). "Good Things Happen to Bad People", just from its title, seems like it would have an interesting narrative as well, and it does. The song is basically composed of fictional vignettes that all relate to jealousy. Thompson has always been clever and inventive in terms of both his music and his lyrics, and it's great to see he still has the talent for both!
"Heavy Feet" by Local Natives: When Local Natives released "Breakers" as the first single from their latest album, I was a bit disappointed. Instead of the dreamy, psychedelic neo-folk that Local Natives are known for, I got something that sounded a bit more modern and techno influenced. Thankfully, with "Heavy Feet", the second song off The Natives' latest CD, the band redeems themselves, and I get exactly what I would expect out of them, ultra mellow neo-psychedelia. I have adored the unique style of Local Natives ever since they came out around 2010, but "Heavy Feet" marks the first time I've heard them on adult alt radio. Not sure why it took 'em this long to get there, but at least they're there now! Though "Heavy Feet" is written in a major key, the sighing heave in both the vocals and the guitar of the song suggest a more lonesome, dreary emotional quality that major key songs don't often have. The chorus of the song ("After everything/Left in the sun/Shivering") only confirms the desolate nature of it. Yet, as I often say, sad songs make me happy (perhaps its the therapeutic, soothing vibe they give off?!) So "Heavy Feet" is a winner for me!
"Party Kids" by Sallie Ford and The Sound Outside: And now, we move from a sad song to a more upbeat one, and a really gritty, blues-y one, too! Previously, I only knew Sallie for being the singer that Black Prairie's lead singer did a duet with on their Christmas song, "(Everybody's Waiting For) The Man With the Bag". "Party Kids", of course, is no Christmas song, but with its bouncy, energetic sound, it sure feels like a holiday just listening to it! To add to the spicy flavor of the instrumentation of "Party Kids" are the lyrics, which gave me the impression that "party" referred to one involving alcohol and rebellion, as opposed to just an innocent, "fun" party. Then again, with the gutsy vocals of Sallie Ford, and the upfront attitude of the song, what else would you expect?!
"Running For Cover" by Ivan & Alyosha: Although Ivan and Alyosha are probably the actual names of the members of the band, it seems like even their NAME makes them sound "indie" (perhaps part of the reason why is because of the incredibly unusual name "Alyosha"). It turned out my guessing that Ivan & Alyosha were an indie band was correct, and they're a darn good one, at that! More specifically, Ivan & Alyosha are an indie-folk band, with acoustic guitar, light percussion, and an electric guitar in the background as the main instruments. The song's harmonies and acoustic guitar based sound convey a sense of sweetness, while its melody and lyrics are more fragile than that. Somehow, though, the combination of sweetness and fragility in "Running For Cover" manage to be quite a winning one!
"Upstarts" by Johnny Marr: "Upstarts" is a word that one might use to describe Johnny Marr's ex-bandmate, Morrissey, from The Smiths, who was known for being both pretentious and cynical. In the music world, Morrissey is both the ultimate deadpan snarker and the ultimate pessimist, so I was expecting something similar from Johnny Marr. What I got, though, was something completely different! "Upstarts" sounds more upbeat than most Smiths/Morrissey songs, suggesting more of a garage-rock/punk-pop flavor than the gloomy alt-pop that Morrissey typically did. If Morrissey's ultra-low baritone could be considered a male version of The Velvet Underground's Nico (which I'm sure it could), then Johnny Marr is like The Smiths' equivalent to Lou Reed. Johnny has more attitude in both his music and vocals than Morrissey, much like how Lou Reed has more of said qualities in comparison to Nico. Since Johnny was The Smiths' guitarist, it's not a rare opportunity to hear him play guitar, but it's incredibly rare to hear him sing. Having heard his voice for the first time on "Upstarts", I must say that he's pretty good at it!
Wednesday, January 23, 2013
Wednesday, January 16, 2013
New songs for the New Year Part 2 - Brand new for January 2013!!
And NOW comes the fun part!! The songs that are brand new for the New Year!! Here goes:
"A New Life" by Jim James (from My Morning Jacket): Jim's latest album is called "Regions of Light and Sounds of God". His newest song, "A New Life", SOUNDS like it came from God within a region of light!! There's something heavenly, in the most authentic sense of the term, about "A New Life". It doesn't sound like the Grateful Dead-meets-Flaming Lips type sound that MMJ became known for in their later years, but more like the gentle, breezy folk-rock of their debut song, "Golden". In fact, "A New Life" is even MORE gentle and breezy than "Golden" was. It's absolutely exhilarating how "A New Life" climaxes! It starts off with Jim's vocals behind a lightly strummed acoustic guitar, then the guitar gets strummed more clearly, and from there, new instruments get added in gradually, starting with a tinkly piano, then a string section, drums, and finally a...saxophone?! Well, it fits in this song!! I don't know how it does, but it does! I feel like I just died and went to heaven. Therefore, I think "A New Life" is a very fitting title for such an ethereal, other-worldly song!!
"Bigger Than Love" by Benjamin Gibbard (from Death Cab for Cutie), featuring Aimee Mann: Although Ben has done better material with Death Cab, there are a couple things I really like about his latest song, "Bigger Than Love". First of all, it features power pop chanteuse Aimee Mann, which is great, not only because I love her music, but also because she just put out an album of her own in summer of 2012, so she's quite a busy woman! It's also really neat that the song has gotten popularity among YouTube viewers because of its performance on "The Colbert Report". The best thing about "Bigger Than Love", though, to me, is how it was inspired by the love letters that were written between F. Scott Fitzgerald, and his wife, Zelda. Actually, that's quite fitting, considering that there's supposed to be a "Great Gatsby" movie coming out soon. Wonder if this song will be featured on the soundtrack?!
"Come Unto Me" by The Mavericks: I thought I knew The Mavericks from their bouncy country-pop/rock song, "I Wanna Know", but this song sounds different from that (and much better!!) "Come Unto Me" is more than just country-rock. There seems to be a sort of Mexican flavor to it, as well as an exotic, gypsy-ish chord progression in the middle of the song. This song could easily be mistaken for a Los Lobos song, and they are a great band! Who knew that one of the first songs of 2013 would also be one of the spiciest?! I didn't, but I'm sure glad I heard it!!
"I'm In, I'm Out, And I'm Gone" by Ben Harper and Charlie Musselwhite: This song starts out with a riff that has been used in countless rock and roll songs, from The Yardbirds' "I'm A Man" to The Black Keys' "Howlin' For You". "I'm In, I'm Out, And I'm Gone" rarely strays from its two chord vamp used in the verses (in fact, the only other chord used in the song comes in during the chorus). This isn't progressive rock, classical, or jazz, though, this is the blues, and blues chords are supposed to have a simple progression!! Some killer harmonica solos on this song, too, so great, that they probably have the power to make the spirit of Muddy Waters come out and groove to the music!
"Ramona" by Night Beds: The bittersweet vocals of this song, which sound halfway between Rufus Wainwright and Ryan Adams, as well as its swooning, swaying guitars, make "Ramona" quite a fitting song from the wintertime. Lyrically, "Ramona" is quite a sad song as well, about the titular girl's separation from both her family and herself, and the anxiety that results from her trying to deal with such situations. It seems as though lead singer Winston Yellen is frustrated, too, as he urges Ramona to "f**k what they taught ya" ("they" probably referring to her family, or perhaps society in general) in the song. Now is the winter of our discontent!!
"The Woodpile" by Frightened Rabbit: This is a good song, but a bit of a letdown for me as far as Frightened Rabbit's material is concerned. I first heard about the Scottish folk-rock group, Frightened Rabbit, in March 2010, when they released "Swim Until You Can't See Land", a gentle, bittersweet song that I have come to love ever since! "The Woodpile" is different than that. It's a bit more plain old bitter than it is bittersweet (though it is still melodic), and the acoustic/electric guitar melding I got used to hearing from "Swim Until You Can't See Land" is now completely electric, with a sound that is somewhat similar to Death Cab for Cutie's earlier material. Even the opening lyrics of "The Woodpile" suggest an all new getup for Frightened Rabbit, mentioning "electric floors", "red meat markets", and "fire doors", all conjuring up vivid yet provocative imagery. I guess Frightened Rabbit aren't so frightened anymore!! They are now the ones facing their fears and taking action!
"Where Are We Now?" by David Bowie: Last, but certainly not least, is the most anticipated new song (so far) of 2013, from none other than the Thin White Duke himself!! It's not one of Bowie's most rockin' numbers, but it doesn't need to be, because...ummm...oh yeah, he's DAVID BOWIE!! He can do anything, and it's bound to impress someone! "Where Are We Now?" is one of the most impressive songs Bowie has ever done!! It is almost like a "crooner" song for someone like him, but it is far more philosophical than it is a love song. It's great to see that, after more than 60 years into his life, David Bowie is still contemplating deep thoughts. What can I say, Bowie is like a fine wine. He only gets better as time goes on!!
"A New Life" by Jim James (from My Morning Jacket): Jim's latest album is called "Regions of Light and Sounds of God". His newest song, "A New Life", SOUNDS like it came from God within a region of light!! There's something heavenly, in the most authentic sense of the term, about "A New Life". It doesn't sound like the Grateful Dead-meets-Flaming Lips type sound that MMJ became known for in their later years, but more like the gentle, breezy folk-rock of their debut song, "Golden". In fact, "A New Life" is even MORE gentle and breezy than "Golden" was. It's absolutely exhilarating how "A New Life" climaxes! It starts off with Jim's vocals behind a lightly strummed acoustic guitar, then the guitar gets strummed more clearly, and from there, new instruments get added in gradually, starting with a tinkly piano, then a string section, drums, and finally a...saxophone?! Well, it fits in this song!! I don't know how it does, but it does! I feel like I just died and went to heaven. Therefore, I think "A New Life" is a very fitting title for such an ethereal, other-worldly song!!
"Bigger Than Love" by Benjamin Gibbard (from Death Cab for Cutie), featuring Aimee Mann: Although Ben has done better material with Death Cab, there are a couple things I really like about his latest song, "Bigger Than Love". First of all, it features power pop chanteuse Aimee Mann, which is great, not only because I love her music, but also because she just put out an album of her own in summer of 2012, so she's quite a busy woman! It's also really neat that the song has gotten popularity among YouTube viewers because of its performance on "The Colbert Report". The best thing about "Bigger Than Love", though, to me, is how it was inspired by the love letters that were written between F. Scott Fitzgerald, and his wife, Zelda. Actually, that's quite fitting, considering that there's supposed to be a "Great Gatsby" movie coming out soon. Wonder if this song will be featured on the soundtrack?!
"Come Unto Me" by The Mavericks: I thought I knew The Mavericks from their bouncy country-pop/rock song, "I Wanna Know", but this song sounds different from that (and much better!!) "Come Unto Me" is more than just country-rock. There seems to be a sort of Mexican flavor to it, as well as an exotic, gypsy-ish chord progression in the middle of the song. This song could easily be mistaken for a Los Lobos song, and they are a great band! Who knew that one of the first songs of 2013 would also be one of the spiciest?! I didn't, but I'm sure glad I heard it!!
"I'm In, I'm Out, And I'm Gone" by Ben Harper and Charlie Musselwhite: This song starts out with a riff that has been used in countless rock and roll songs, from The Yardbirds' "I'm A Man" to The Black Keys' "Howlin' For You". "I'm In, I'm Out, And I'm Gone" rarely strays from its two chord vamp used in the verses (in fact, the only other chord used in the song comes in during the chorus). This isn't progressive rock, classical, or jazz, though, this is the blues, and blues chords are supposed to have a simple progression!! Some killer harmonica solos on this song, too, so great, that they probably have the power to make the spirit of Muddy Waters come out and groove to the music!
"Ramona" by Night Beds: The bittersweet vocals of this song, which sound halfway between Rufus Wainwright and Ryan Adams, as well as its swooning, swaying guitars, make "Ramona" quite a fitting song from the wintertime. Lyrically, "Ramona" is quite a sad song as well, about the titular girl's separation from both her family and herself, and the anxiety that results from her trying to deal with such situations. It seems as though lead singer Winston Yellen is frustrated, too, as he urges Ramona to "f**k what they taught ya" ("they" probably referring to her family, or perhaps society in general) in the song. Now is the winter of our discontent!!
"The Woodpile" by Frightened Rabbit: This is a good song, but a bit of a letdown for me as far as Frightened Rabbit's material is concerned. I first heard about the Scottish folk-rock group, Frightened Rabbit, in March 2010, when they released "Swim Until You Can't See Land", a gentle, bittersweet song that I have come to love ever since! "The Woodpile" is different than that. It's a bit more plain old bitter than it is bittersweet (though it is still melodic), and the acoustic/electric guitar melding I got used to hearing from "Swim Until You Can't See Land" is now completely electric, with a sound that is somewhat similar to Death Cab for Cutie's earlier material. Even the opening lyrics of "The Woodpile" suggest an all new getup for Frightened Rabbit, mentioning "electric floors", "red meat markets", and "fire doors", all conjuring up vivid yet provocative imagery. I guess Frightened Rabbit aren't so frightened anymore!! They are now the ones facing their fears and taking action!
"Where Are We Now?" by David Bowie: Last, but certainly not least, is the most anticipated new song (so far) of 2013, from none other than the Thin White Duke himself!! It's not one of Bowie's most rockin' numbers, but it doesn't need to be, because...ummm...oh yeah, he's DAVID BOWIE!! He can do anything, and it's bound to impress someone! "Where Are We Now?" is one of the most impressive songs Bowie has ever done!! It is almost like a "crooner" song for someone like him, but it is far more philosophical than it is a love song. It's great to see that, after more than 60 years into his life, David Bowie is still contemplating deep thoughts. What can I say, Bowie is like a fine wine. He only gets better as time goes on!!
New blog for the New Year Part 1 - Leftover from December 2012
Whew!! Had a lot of catching up to do within the past couple weeks, so much so that I missed some good ones from December that I'm just now starting to pay attention to. So here they are:
"Cut Me Some Slack" by Paul McCartney, Pat Smear (Foo Fighters), and the remaining members of Nirvana: Paul McCartney and WHO?!? I like Paul McCartney, and I like Nirvana, but putting them together is like having jalapeno flavored ice cream!! Or so I thought before I actually heard the song. Although Macca is mostly known for softer material, he can crank out a solid hard rocker every once in a while (just look at The Beatles' "Helter Skelter", which McCartney sang the lead vocals on!!) Sir Paul lets out a primal scream of angst throughout "Cut Me Some Slack". Sure, Paul's no Kurt Cobain, but he must have been channeling Kurt's spirit (or maybe John Lennon's) when he did this song. After listening to "Cut Me Some Slack", all I can say is, "I've got blisters on me fingers!!"
"Hang Loose" by Alabama Shakes: A catchy Creedence Clearwater Revival style guitar riff, Memphis soul saxophones, and raw, passionate vocals that would make Janis Joplin proud can only mean one thing. Alabama Shakes are back again!! For their third major song, "Hang Loose", they do exactly as the title says. That is to say, Brittany Howard and co just take things easy in "Hang Loose", a song that is as mellow as it is danceable and soulful. My only complaint about this song is that it's only two and a half minutes long. I wish it were longer!!
"Joy to You Baby" by Josh Ritter: The song's title might indicate "joy", but the song itself is more of a melancholy one, though I've come to expect this from Josh Ritter. It's what makes his music likable, after all. Ritter's clever lyrical imagery, however, is what makes his latest song, "Joy to You Baby", so memorable. For instance, he sings about how, when he goes to parties, he drinks "cups of who cares", and how ghosts in the graveyard float between "what is" and "what if". Of course, the song wouldn't be complete without his capoed acoustic guitar either, as that is central to both the mood and the melody of the song. "Joy to You Baby" is as lovely as it is witty, a rare, but certainly enjoyable feat in music these days!
"New Alphabet" by Eels: New alphabet?! OK!! Z Y X, W V, U T S, R Q P!! Oh wait, it's not THAT kind of "new alphabet"?! Oh. What Mark Everett (better known simply as "E") means by "new alphabet" is (probably) that he wants a new way to express himself "When the words just sound like noise", and "when the world stops making sense". Like most of The Eels' material, "New Alphabet" sounds like the kind of song Beck might do, both vocally, lyrically, and instrumentally (but keep in mind that Eels have been around since 1996, a mere three years after Beck's debut in the music scene, so it's not exactly a "rip-off"). Most of the songs Eels have done within the past couple years have a soft, almost billowy sound to them. "New Alphabet" has a bit more "meat" on it, so to speak, but it's still as melodic as ever, and it has a neat little plucked string section between the verses and chorus.
"Nowhere, Massachusetts" by Black Prairie: When it comes to country-rock, the music is usually a bit more upbeat than its plain ol' country counterpart, but Black Prairie are different than that (what else would you expect from a band whose first known song was called "How Do You Ruin Me?") Country-rock probably hasn't been this sad (and especially with such authentic sadness) since the late '60s, when The Flying Burrito Brothers did their tearjerker of a song, "Hot Burrito # 1". "Nowhere, Massachusetts" is even sadder than that, at least in terms of its lonesome, homesick sound. The acoustic guitar and vocals at the beginning are already bittersweet enough, and it only gets more so from there, especially with the sighing violin in the song. This was the very last "new" song I heard in 2012, so I guess it's only fitting that it sounds like a "goodbye song".
"The John Wayne" by Little Green Cars: THE John Wayne?! Not sure why there's an article preceding the title, because it makes it sound like the latest dance craze (as in, "Come on everybody, let's do The John Wayne!") However, "The John Wayne" is FAR from a dance craze. It is, instead, a bittersweet sounding song about how it's "easy to fall in love", and the dangers that come with doing so. The title of the song comes from how the lead singer feels "shot down" (as though he's in a John Wayne movie) by the one he has fallen in love with. More melancholia?! Sounds like more music for me to become enamored with!!
"Two Fingers" by Jake Bugg: Aside from his last name, one of the most memorable things about Jake Bugg is that he's only 18 years old!! He sounds like he's in his late 20's or early 30's, but he isn't, and he's also British (take THAT, One Direction!!) It's also pretty easy to get the impression that Jake probably enjoys his parents' music more than that of his own generation, since he sounds like a cross between The Beatles and Bob Dylan. "Two Fingers" is also a very deep and somewhat depressing song, lyrically. No one I know of has written a song like this in their teens since Jackson Browne did with "These Days" when he was only a year younger than Jake!
"Cut Me Some Slack" by Paul McCartney, Pat Smear (Foo Fighters), and the remaining members of Nirvana: Paul McCartney and WHO?!? I like Paul McCartney, and I like Nirvana, but putting them together is like having jalapeno flavored ice cream!! Or so I thought before I actually heard the song. Although Macca is mostly known for softer material, he can crank out a solid hard rocker every once in a while (just look at The Beatles' "Helter Skelter", which McCartney sang the lead vocals on!!) Sir Paul lets out a primal scream of angst throughout "Cut Me Some Slack". Sure, Paul's no Kurt Cobain, but he must have been channeling Kurt's spirit (or maybe John Lennon's) when he did this song. After listening to "Cut Me Some Slack", all I can say is, "I've got blisters on me fingers!!"
"Hang Loose" by Alabama Shakes: A catchy Creedence Clearwater Revival style guitar riff, Memphis soul saxophones, and raw, passionate vocals that would make Janis Joplin proud can only mean one thing. Alabama Shakes are back again!! For their third major song, "Hang Loose", they do exactly as the title says. That is to say, Brittany Howard and co just take things easy in "Hang Loose", a song that is as mellow as it is danceable and soulful. My only complaint about this song is that it's only two and a half minutes long. I wish it were longer!!
"Joy to You Baby" by Josh Ritter: The song's title might indicate "joy", but the song itself is more of a melancholy one, though I've come to expect this from Josh Ritter. It's what makes his music likable, after all. Ritter's clever lyrical imagery, however, is what makes his latest song, "Joy to You Baby", so memorable. For instance, he sings about how, when he goes to parties, he drinks "cups of who cares", and how ghosts in the graveyard float between "what is" and "what if". Of course, the song wouldn't be complete without his capoed acoustic guitar either, as that is central to both the mood and the melody of the song. "Joy to You Baby" is as lovely as it is witty, a rare, but certainly enjoyable feat in music these days!
"New Alphabet" by Eels: New alphabet?! OK!! Z Y X, W V, U T S, R Q P!! Oh wait, it's not THAT kind of "new alphabet"?! Oh. What Mark Everett (better known simply as "E") means by "new alphabet" is (probably) that he wants a new way to express himself "When the words just sound like noise", and "when the world stops making sense". Like most of The Eels' material, "New Alphabet" sounds like the kind of song Beck might do, both vocally, lyrically, and instrumentally (but keep in mind that Eels have been around since 1996, a mere three years after Beck's debut in the music scene, so it's not exactly a "rip-off"). Most of the songs Eels have done within the past couple years have a soft, almost billowy sound to them. "New Alphabet" has a bit more "meat" on it, so to speak, but it's still as melodic as ever, and it has a neat little plucked string section between the verses and chorus.
"Nowhere, Massachusetts" by Black Prairie: When it comes to country-rock, the music is usually a bit more upbeat than its plain ol' country counterpart, but Black Prairie are different than that (what else would you expect from a band whose first known song was called "How Do You Ruin Me?") Country-rock probably hasn't been this sad (and especially with such authentic sadness) since the late '60s, when The Flying Burrito Brothers did their tearjerker of a song, "Hot Burrito # 1". "Nowhere, Massachusetts" is even sadder than that, at least in terms of its lonesome, homesick sound. The acoustic guitar and vocals at the beginning are already bittersweet enough, and it only gets more so from there, especially with the sighing violin in the song. This was the very last "new" song I heard in 2012, so I guess it's only fitting that it sounds like a "goodbye song".
"The John Wayne" by Little Green Cars: THE John Wayne?! Not sure why there's an article preceding the title, because it makes it sound like the latest dance craze (as in, "Come on everybody, let's do The John Wayne!") However, "The John Wayne" is FAR from a dance craze. It is, instead, a bittersweet sounding song about how it's "easy to fall in love", and the dangers that come with doing so. The title of the song comes from how the lead singer feels "shot down" (as though he's in a John Wayne movie) by the one he has fallen in love with. More melancholia?! Sounds like more music for me to become enamored with!!
"Two Fingers" by Jake Bugg: Aside from his last name, one of the most memorable things about Jake Bugg is that he's only 18 years old!! He sounds like he's in his late 20's or early 30's, but he isn't, and he's also British (take THAT, One Direction!!) It's also pretty easy to get the impression that Jake probably enjoys his parents' music more than that of his own generation, since he sounds like a cross between The Beatles and Bob Dylan. "Two Fingers" is also a very deep and somewhat depressing song, lyrically. No one I know of has written a song like this in their teens since Jackson Browne did with "These Days" when he was only a year younger than Jake!
Sunday, December 23, 2012
The Top 20 Songs of 2012!!!
IT'S FINALLY HERE!!! The moment you've all been waiting for! Here they are, from 20 to 1, the best songs of the year!
20. "Little Talks" by Of Monsters and Men
19. "Chains of Love" by Ryan Adams
18. "Runaways" by The Killers
17. "Never Go Back" by Grace Potter and The Nocturnals
16. "I Ain't the Same" by Alabama Shakes
15. "If Only" by The Dave Matthews Band
14. "North Side Gal" by JD McPherson
13. "Mercy" by The Dave Matthews Band
12. "Mountain Sound" by Of Monsters and Men
11. "Stubborn Love" by The Lumineers
10. "Doom And Gloom" by The Rolling Stones
9. "Reboot the Mission" by The Wallflowers (and Mick Jones from The Clash)
8. "Love Interruption" by Jack White
7. "Live And Die" by The Avett Brothers
6. "Gold On the Ceiling" by The Black Keys
5. "Hold On" by Alabama Shakes
4. "I Will Wait" by Mumford and Sons
3. "Ho Hey" by The Lumineers
2. "Simple Song" by The Shins
annnnddd....the number one song of 2012 is...
"SOMEBODY THAT I USED TO KNOW" BY GOTYE!!!!
Well, that's it for this year folks. Happy Holidays and a Happy New Year!!
20. "Little Talks" by Of Monsters and Men
19. "Chains of Love" by Ryan Adams
18. "Runaways" by The Killers
17. "Never Go Back" by Grace Potter and The Nocturnals
16. "I Ain't the Same" by Alabama Shakes
15. "If Only" by The Dave Matthews Band
14. "North Side Gal" by JD McPherson
13. "Mercy" by The Dave Matthews Band
12. "Mountain Sound" by Of Monsters and Men
11. "Stubborn Love" by The Lumineers
10. "Doom And Gloom" by The Rolling Stones
9. "Reboot the Mission" by The Wallflowers (and Mick Jones from The Clash)
8. "Love Interruption" by Jack White
7. "Live And Die" by The Avett Brothers
6. "Gold On the Ceiling" by The Black Keys
5. "Hold On" by Alabama Shakes
4. "I Will Wait" by Mumford and Sons
3. "Ho Hey" by The Lumineers
2. "Simple Song" by The Shins
annnnddd....the number one song of 2012 is...
"SOMEBODY THAT I USED TO KNOW" BY GOTYE!!!!
Well, that's it for this year folks. Happy Holidays and a Happy New Year!!
Wednesday, December 19, 2012
Last blog of the year!! (Before the Top 20 of 2012)
Only two songs, but hey, what else can you expect for December?! Anyway, here goes:
"February Seven" by The Avett Brothers: Like "Live And Die", The Avetts' smash hit on adult alt stations from earlier this year, "February Seven" also hearkens back to The Avett Brothers' pre-fame sound, using more guitars than pianos. As far as the emotional quality of "February Seven" is concerned, though, it is a much more bittersweet song than "Live And Die", but then again, bittersweet music is what The Avetts have become known for. Scott and Seth set out on another search for truth down the open road put to a Springsteen-ian lyrical stance and bluegrass instrumentation. The words "February seven(th)" are never mentioned anywhere in the song, so why is it called that?! Well, thankfully, I just found out. It has to do with how the lyrics are based on a life lesson Scott Avett learned on February 7th one year.
"Miss Atomic Bomb" by The Killers: Yet another "follow-up" single to an adult alt summer smash ("Runaways"), the explosive title of "Miss Atomic Bomb" fits its somewhat arena-ish, dynamic sound quality. Lyrically, however, it is another attempt for Brandon Flowers to write and perform Springsteen-esque lyrics (just like the last song I talked about in this week's blog) to capture the feel of a romance he experienced back in his "glory days" (if you'll pardon the pun, heheh). Flowers referring to a woman of his affections as "Miss Atomic Bomb" is probably just a reference to how "hot" the woman in question is, but somehow, I always end up picturing a girl in a radiation suit when I hear this song instead!! Perhaps that's just the literal side of my mind talking again.
"February Seven" by The Avett Brothers: Like "Live And Die", The Avetts' smash hit on adult alt stations from earlier this year, "February Seven" also hearkens back to The Avett Brothers' pre-fame sound, using more guitars than pianos. As far as the emotional quality of "February Seven" is concerned, though, it is a much more bittersweet song than "Live And Die", but then again, bittersweet music is what The Avetts have become known for. Scott and Seth set out on another search for truth down the open road put to a Springsteen-ian lyrical stance and bluegrass instrumentation. The words "February seven(th)" are never mentioned anywhere in the song, so why is it called that?! Well, thankfully, I just found out. It has to do with how the lyrics are based on a life lesson Scott Avett learned on February 7th one year.
"Miss Atomic Bomb" by The Killers: Yet another "follow-up" single to an adult alt summer smash ("Runaways"), the explosive title of "Miss Atomic Bomb" fits its somewhat arena-ish, dynamic sound quality. Lyrically, however, it is another attempt for Brandon Flowers to write and perform Springsteen-esque lyrics (just like the last song I talked about in this week's blog) to capture the feel of a romance he experienced back in his "glory days" (if you'll pardon the pun, heheh). Flowers referring to a woman of his affections as "Miss Atomic Bomb" is probably just a reference to how "hot" the woman in question is, but somehow, I always end up picturing a girl in a radiation suit when I hear this song instead!! Perhaps that's just the literal side of my mind talking again.
Wednesday, December 12, 2012
Songs for twelve-twelve-twelve!!
We don't have twelve songs this time around, but there are four, and three times that makes twelve! So here goes:
"Call Me the Breeze" by Beth Orton: Not to be confused with the more boogie-woogie style, hard rocking Lynyrd Skynyrd song of the same title, Beth Orton's "Call Me the Breeze" sounds more, well, breezy! It is soft and billowy, like listening to a cloud, and it also shows just how much she has departed from the "folk-tronica" she started out with in her career. "Call Me the Breeze" is just pure and simple folk-rock. No electronic instruments or synthetic drumbeats to distract from the essence of the song here. "Call Me the Breeze" plays out almost like a children's song, with its repetitive "call me the..." verses ("Call me the day, call me the night, call me the dark, call me the light", for instance), interrupted only by its chorus ("hear my call, hello-lo-lo-lo, lo-lo-lo-lo, lo"). Definitely a good song to start out the morning with!
"Lover of the Light" by Mumford and Sons: The third single of 2012 from the unlikely folk-rock sensations Mumford and Sons is, perhaps, unlike any they have ever done! Hearing this song live during their "Gentlemen of the Road" tour was already pretty uplifting, and thankfully, M & S retain the magic of the song for the studio version of it! "Lover of the Light" is the first M & S song to feature a percussion section, and it is also the first song in their catalog that is TRULY "folk-rock", with an electric guitar providing a backbone to their more expected use of acoustic guitar and banjo. "Lover of the Light" has a similar rhythm (and sound, somewhat) to The Dave Matthews Band's "Crash Into Me". Unlike Mr. Matthews' song, "Lover of the Light" is not seductive in any way, shape, or form (for it to be so would be a shock for fans of M & S), and is instead, honest and heartfelt to the very core ("So love the one you hold, and I'll be your goal, to have and to hold, a lover of the light")! The Mumfords continue to amaze me with every song they do, and I hope they will continue in that direction for as long as they can keep a musical career!!
"Maybe On Monday" by Calexico: "Maybe On Monday" is both a sadder song and an edgier song than most of Calexico's material. The electric guitar makes a surprise appearance in this song by a band who is typically more known for their acoustic-y stuff (though "Maybe On Monday" can still be called "folk-rock" nonetheless), and there is no horn solo in the song, which is incredibly unusual for a Calexico composition. The subject matter of the song also leaves a lot of questions floating around in the listener's mind. For instance, why do the opening lyrics ("Woke up on Monday and wrote you a love song/Well the pen stopped and the paper flew out the window, and the notes rang down the road") sound as though Calexico's lead singer is somehow equating a painful relationship with writer's block?! Can't say I know too many songs that are like this one, but that's just all the more reason to like it!
"Twinkle (Little Christmas Lights") by JD McPherson: JD's success among adult alt audiences (particularly with the catchy, Little Richard-esque "North Side Gal"), came as a big surprise (but a darn good one) to listeners everywhere! Perhaps that's why JD felt like the time was right for him to do a Christmas song, even though he's only had two hits so far! The whimsical lyrics and jingle-bell sound of "Twinkle (Little Christmas Lights") recalls a lot of the Phil Spector Christmas songs from the early '60s, but the rhythm of the song, like most of JD's material, is pure '50s rock! Merry Christmas and a rockin' New Year!!
"Call Me the Breeze" by Beth Orton: Not to be confused with the more boogie-woogie style, hard rocking Lynyrd Skynyrd song of the same title, Beth Orton's "Call Me the Breeze" sounds more, well, breezy! It is soft and billowy, like listening to a cloud, and it also shows just how much she has departed from the "folk-tronica" she started out with in her career. "Call Me the Breeze" is just pure and simple folk-rock. No electronic instruments or synthetic drumbeats to distract from the essence of the song here. "Call Me the Breeze" plays out almost like a children's song, with its repetitive "call me the..." verses ("Call me the day, call me the night, call me the dark, call me the light", for instance), interrupted only by its chorus ("hear my call, hello-lo-lo-lo, lo-lo-lo-lo, lo"). Definitely a good song to start out the morning with!
"Lover of the Light" by Mumford and Sons: The third single of 2012 from the unlikely folk-rock sensations Mumford and Sons is, perhaps, unlike any they have ever done! Hearing this song live during their "Gentlemen of the Road" tour was already pretty uplifting, and thankfully, M & S retain the magic of the song for the studio version of it! "Lover of the Light" is the first M & S song to feature a percussion section, and it is also the first song in their catalog that is TRULY "folk-rock", with an electric guitar providing a backbone to their more expected use of acoustic guitar and banjo. "Lover of the Light" has a similar rhythm (and sound, somewhat) to The Dave Matthews Band's "Crash Into Me". Unlike Mr. Matthews' song, "Lover of the Light" is not seductive in any way, shape, or form (for it to be so would be a shock for fans of M & S), and is instead, honest and heartfelt to the very core ("So love the one you hold, and I'll be your goal, to have and to hold, a lover of the light")! The Mumfords continue to amaze me with every song they do, and I hope they will continue in that direction for as long as they can keep a musical career!!
"Maybe On Monday" by Calexico: "Maybe On Monday" is both a sadder song and an edgier song than most of Calexico's material. The electric guitar makes a surprise appearance in this song by a band who is typically more known for their acoustic-y stuff (though "Maybe On Monday" can still be called "folk-rock" nonetheless), and there is no horn solo in the song, which is incredibly unusual for a Calexico composition. The subject matter of the song also leaves a lot of questions floating around in the listener's mind. For instance, why do the opening lyrics ("Woke up on Monday and wrote you a love song/Well the pen stopped and the paper flew out the window, and the notes rang down the road") sound as though Calexico's lead singer is somehow equating a painful relationship with writer's block?! Can't say I know too many songs that are like this one, but that's just all the more reason to like it!
"Twinkle (Little Christmas Lights") by JD McPherson: JD's success among adult alt audiences (particularly with the catchy, Little Richard-esque "North Side Gal"), came as a big surprise (but a darn good one) to listeners everywhere! Perhaps that's why JD felt like the time was right for him to do a Christmas song, even though he's only had two hits so far! The whimsical lyrics and jingle-bell sound of "Twinkle (Little Christmas Lights") recalls a lot of the Phil Spector Christmas songs from the early '60s, but the rhythm of the song, like most of JD's material, is pure '50s rock! Merry Christmas and a rockin' New Year!!
Saturday, December 1, 2012
Have A Holly Jolly Hipster Christmas - special blog dedicated to "Holidays Rule"!!
I don't normally post on days other than Wednesday, but the new CD "Holidays Rule", showcasing mostly contemporary folk-rock and indie-pop, has soooo many good songs that would just be too much to blog about if I added them into another blog entry for non-Christmas/non-holiday related songs! There actually too many songs on this CD to be covering in one entry, so I'll be reviewing my personal faves from the CD today. So here goes! Hope you like it!!
"Auld Lang Syne" by Andrew Bird: Ever the quirky indie musician, Mr. Bird has decided not to choose a Christmas related song, and opt for a New Year's one instead! And his arrangement of it is...ummm...interesting!! Instead of being sung with reverence, it is treated more like a jaunty, honky-tonk song! No Andrew Bird song is complete without a string section instrument, but Bird continues to surprise his listeners by choosing a fiddle this time instead of a violin or cello like he usually does. It's also pretty impressive that Andrew Bird knows more than just the first verse of "Auld Lang Syne", since most people (including myself) only remember that verse!
"Baby It's Cold Outside" by Rufus Wainwright and Sharon Van Etten: The ultimate boy/girl duet Christmas song is performed this year by eclectic music extraordinaire Rufus Wainwright and angst-ridden folk-rocker Sharon Van Etten. Presented only with piano and vocals, Rufus and Sharon deliver an endearing duet (in which Rufus, as always, steals the show) that is bound to make one curl up inside with a cup of hot cocoa by the fireplace with his/her loved one. Van Etten's nearly deadpan vocal delivery provides an intriguing contrast with Wainwright's expressively operatic vocals, but they still manage to make it work! If only Zooey Deschanel didn't perform this song TWICE (once with Will Ferrell and another with M. Ward), I'd opt for her to sing the "girl" parts of this song, but otherwise, well worth the listen!
"Blue Christmas" by Heartless B*st*rds: A band whose name is both a curse word and an insult doesn't exactly seem like one that would be in the Christmas spirit, does it?! Surprise! Erika Wennerstrom is no Grinch! However, she did choose a more brokenhearted holiday song for "Holidays Rule", "Blue Christmas", a song that I initially thought had only been done by Elvis Presley, but has been covered by many others ever since. The HB's give "Blue Christmas" a melancholy country-rock treatment, complete with a sighing, twangy guitar solo in the middle. A big ol' heart melter, like most of the "Holidays Rule" songs, but that's why I like it!
"(Everybody's Waitin' For) The Man With the Bag" by Black Prairie: With a title that's a clear reference to Santa Claus, you'd think a song like this would be pretty energetic. And it is! But...not at first. The first 30 seconds or so of "Man With the Bag" build up suspense to a song that soon begins to sound like The Decemberists got taken over by Feist leading a band of jolly little elves! A surprisingly fun song for a band whose only known song so far is called "How Do You Ruin Me?" This could land Black Prairie a guest spot on "Yo Gabba Gabba" if they're not careful, heheh.
"Green Grows the Holly" by Calexico: Not one of the obvious Santa/Rudolph type Christmas songs, but it's songs like Calexico's "Green Grows the Holly" that adds a bit of diversity in subject matter to the "Holidays Rule" song collection. A very mournful holiday song, too, but not without a unique, Calexico-style horn solo in the middle of it to make it perk up, if only for a minute. Calexico are typically more lively than they are on this acoustic-guitar-and-horns-only track. Where I would normally envision a Calexico song taking place around the Mojave Desert in the middle of summer in the afternoon, this one seems more to take place around dusk, near winter, with holly and ivy growing in place of the cacti.
"I Heard the Bells On Christmas Day" by The Civil Wars: John and Joy turn a solemn Christmas song into a more charming one simply by using their signature harmonies to make the song complete, but the sentiments of requesting peace on Earth and good will to men in a world of cynical people are still there. Accompanied only by acoustic guitar, The Civil Wars show, once again, how their brand of quiet is the new loud, enough to make listeners stop and become entranced by both the mellifluous melodies and universally uplifting utterances of their take on an old Christmas fave.
"It's Beginning to Look A Lot Like Christmas" by Fruit Bats: The formerly cheery Christmas song, "It's Beginning to Look A Lot Like Christmas", gets a makeover from indie-folk-rockers Fruit Bats, with a sound that's halfway between a classic country song and Hawaiian music. Though The Bats have made this song lose some of the pep it once had, it is not completely without its bouncy beat. It's not as though Fruit Bats have added minor chords in place of the major ones, that's still a part of the song in this version. It's beginning to look a lot like Christmas, but more like the kind of Christmas you'd want to spend inside your house, and not outside in a mall.
"O Come, O Come, Emmanuel" by Punch Brothers: An interesting selection for "Holidays Rule", and an even more interesting version! Among the recent "bluegrass-rock" boom, Punch Brothers are probably one of the few (if not the only) band of the bunch that could be considered "progressive bluegrass", since their verses and choruses are often in completely different keys to one another. They continue to demonstrate this oddly amazing talent in their take on "O Come, O Come, Emmanuel", one of those songs that, "keeps the 'Christ' in 'Christmas'", so to speak, as its title and subject matter are both references to Jesus. Punch Brothers do not lose an ounce of reverence in their rendition of "O Come, O Come, Emmanuel", in terms of both vocal and instrumental quality. Perhaps this means that Punch Brothers are "brothers" in more ways than one might expect?!
"Sleigh Ride" by fun.: I have truly underestimated fun. With each song they release, their instrumental talents continue to impress me more and more. With the combination of "modern" instruments (like synths), and more "traditional" ones (like violins and flutes) all set to a giant indie-pop wall of sound, this version of "Sleigh Ride" could have been done by Arcade Fire with the exact same arrangement (but with different vocals, obviously)!! It even dips into psychedelic, echo-y territory a la "Tomorrow Never Knows" by The Beatles towards the end of it! I think fun. are gliding through more than just a wonderland of snow in their version of "Sleigh Ride". They are gliding through a wonderland of SOUND!! Now that's what I call "ear candy"!
"The Christmas Song" by Paul McCartney: Sir Paul must be quite overwhelmed that he is both performing a song AND having a song he originally did covered by someone else ("Wonderful Christmastime") on the same album!! Macca's arrangement of the time-honored Christmas tune that begins with descriptions of "chestnuts roasting on an open fire" and "Jack Frost nipping at your nose" is not a bad one, but a B effort, or perhaps even a C one, in comparison to the Nat King Cole version I'm used to hearing. It must also feel weird for Paul to be the only "classic rock" musician on a record of mostly indie-pop musicians of the '00s and 2010's. Perhaps that's why his efforts feel only so-so on "The Christmas Song", but this IS a song that seems to be good, regardless of who's singing it.
"What Are You Doing New Year's Eve?" by The Head and The Heart: Aside from Andrew Bird's contribution to "Holidays Rule", this is the only post-Christmas December related song on the CD. I realize just now that this is The Head and The Heart's first major song with romantic sentiments attached to it. Their topics previously revolved around homesickness ("Lost In My Mind"), being a world weary traveler ("Down In the Valley"), and speculations about the paranormal ("Ghosts"). So how do The Head and The Heart fare at choosing more personal subject matter into their music?! Quite effectively, if I do say so myself. The song carries a sweet, but not sappy, message of hope to spend New Year's Eve with one's significant other, and is perfect for a cozy, warm, stay-at-home December.
"Wonderful Christmastime" by The Shins: And last, but not least, it's Paul McCartney! Ummm...I mean...The Shins COVERING Paul McCartney! Kind of. James Mercer's love of The Beach Boys is more obvious in this version of McCartney's signature Christmas tune than his love of The Beatles, what the "Good Vibrations"-ish organ to start off the song. The lyrics get either goofed up or added on to at certain parts, so it doesn't exactly feel like a sincere cover, but those who prefer have their holiday tunes sound more psychedelic than plain ol' happy might get a kick out of this version.
"Auld Lang Syne" by Andrew Bird: Ever the quirky indie musician, Mr. Bird has decided not to choose a Christmas related song, and opt for a New Year's one instead! And his arrangement of it is...ummm...interesting!! Instead of being sung with reverence, it is treated more like a jaunty, honky-tonk song! No Andrew Bird song is complete without a string section instrument, but Bird continues to surprise his listeners by choosing a fiddle this time instead of a violin or cello like he usually does. It's also pretty impressive that Andrew Bird knows more than just the first verse of "Auld Lang Syne", since most people (including myself) only remember that verse!
"Baby It's Cold Outside" by Rufus Wainwright and Sharon Van Etten: The ultimate boy/girl duet Christmas song is performed this year by eclectic music extraordinaire Rufus Wainwright and angst-ridden folk-rocker Sharon Van Etten. Presented only with piano and vocals, Rufus and Sharon deliver an endearing duet (in which Rufus, as always, steals the show) that is bound to make one curl up inside with a cup of hot cocoa by the fireplace with his/her loved one. Van Etten's nearly deadpan vocal delivery provides an intriguing contrast with Wainwright's expressively operatic vocals, but they still manage to make it work! If only Zooey Deschanel didn't perform this song TWICE (once with Will Ferrell and another with M. Ward), I'd opt for her to sing the "girl" parts of this song, but otherwise, well worth the listen!
"Blue Christmas" by Heartless B*st*rds: A band whose name is both a curse word and an insult doesn't exactly seem like one that would be in the Christmas spirit, does it?! Surprise! Erika Wennerstrom is no Grinch! However, she did choose a more brokenhearted holiday song for "Holidays Rule", "Blue Christmas", a song that I initially thought had only been done by Elvis Presley, but has been covered by many others ever since. The HB's give "Blue Christmas" a melancholy country-rock treatment, complete with a sighing, twangy guitar solo in the middle. A big ol' heart melter, like most of the "Holidays Rule" songs, but that's why I like it!
"(Everybody's Waitin' For) The Man With the Bag" by Black Prairie: With a title that's a clear reference to Santa Claus, you'd think a song like this would be pretty energetic. And it is! But...not at first. The first 30 seconds or so of "Man With the Bag" build up suspense to a song that soon begins to sound like The Decemberists got taken over by Feist leading a band of jolly little elves! A surprisingly fun song for a band whose only known song so far is called "How Do You Ruin Me?" This could land Black Prairie a guest spot on "Yo Gabba Gabba" if they're not careful, heheh.
"Green Grows the Holly" by Calexico: Not one of the obvious Santa/Rudolph type Christmas songs, but it's songs like Calexico's "Green Grows the Holly" that adds a bit of diversity in subject matter to the "Holidays Rule" song collection. A very mournful holiday song, too, but not without a unique, Calexico-style horn solo in the middle of it to make it perk up, if only for a minute. Calexico are typically more lively than they are on this acoustic-guitar-and-horns-only track. Where I would normally envision a Calexico song taking place around the Mojave Desert in the middle of summer in the afternoon, this one seems more to take place around dusk, near winter, with holly and ivy growing in place of the cacti.
"I Heard the Bells On Christmas Day" by The Civil Wars: John and Joy turn a solemn Christmas song into a more charming one simply by using their signature harmonies to make the song complete, but the sentiments of requesting peace on Earth and good will to men in a world of cynical people are still there. Accompanied only by acoustic guitar, The Civil Wars show, once again, how their brand of quiet is the new loud, enough to make listeners stop and become entranced by both the mellifluous melodies and universally uplifting utterances of their take on an old Christmas fave.
"It's Beginning to Look A Lot Like Christmas" by Fruit Bats: The formerly cheery Christmas song, "It's Beginning to Look A Lot Like Christmas", gets a makeover from indie-folk-rockers Fruit Bats, with a sound that's halfway between a classic country song and Hawaiian music. Though The Bats have made this song lose some of the pep it once had, it is not completely without its bouncy beat. It's not as though Fruit Bats have added minor chords in place of the major ones, that's still a part of the song in this version. It's beginning to look a lot like Christmas, but more like the kind of Christmas you'd want to spend inside your house, and not outside in a mall.
"O Come, O Come, Emmanuel" by Punch Brothers: An interesting selection for "Holidays Rule", and an even more interesting version! Among the recent "bluegrass-rock" boom, Punch Brothers are probably one of the few (if not the only) band of the bunch that could be considered "progressive bluegrass", since their verses and choruses are often in completely different keys to one another. They continue to demonstrate this oddly amazing talent in their take on "O Come, O Come, Emmanuel", one of those songs that, "keeps the 'Christ' in 'Christmas'", so to speak, as its title and subject matter are both references to Jesus. Punch Brothers do not lose an ounce of reverence in their rendition of "O Come, O Come, Emmanuel", in terms of both vocal and instrumental quality. Perhaps this means that Punch Brothers are "brothers" in more ways than one might expect?!
"Sleigh Ride" by fun.: I have truly underestimated fun. With each song they release, their instrumental talents continue to impress me more and more. With the combination of "modern" instruments (like synths), and more "traditional" ones (like violins and flutes) all set to a giant indie-pop wall of sound, this version of "Sleigh Ride" could have been done by Arcade Fire with the exact same arrangement (but with different vocals, obviously)!! It even dips into psychedelic, echo-y territory a la "Tomorrow Never Knows" by The Beatles towards the end of it! I think fun. are gliding through more than just a wonderland of snow in their version of "Sleigh Ride". They are gliding through a wonderland of SOUND!! Now that's what I call "ear candy"!
"The Christmas Song" by Paul McCartney: Sir Paul must be quite overwhelmed that he is both performing a song AND having a song he originally did covered by someone else ("Wonderful Christmastime") on the same album!! Macca's arrangement of the time-honored Christmas tune that begins with descriptions of "chestnuts roasting on an open fire" and "Jack Frost nipping at your nose" is not a bad one, but a B effort, or perhaps even a C one, in comparison to the Nat King Cole version I'm used to hearing. It must also feel weird for Paul to be the only "classic rock" musician on a record of mostly indie-pop musicians of the '00s and 2010's. Perhaps that's why his efforts feel only so-so on "The Christmas Song", but this IS a song that seems to be good, regardless of who's singing it.
"What Are You Doing New Year's Eve?" by The Head and The Heart: Aside from Andrew Bird's contribution to "Holidays Rule", this is the only post-Christmas December related song on the CD. I realize just now that this is The Head and The Heart's first major song with romantic sentiments attached to it. Their topics previously revolved around homesickness ("Lost In My Mind"), being a world weary traveler ("Down In the Valley"), and speculations about the paranormal ("Ghosts"). So how do The Head and The Heart fare at choosing more personal subject matter into their music?! Quite effectively, if I do say so myself. The song carries a sweet, but not sappy, message of hope to spend New Year's Eve with one's significant other, and is perfect for a cozy, warm, stay-at-home December.
"Wonderful Christmastime" by The Shins: And last, but not least, it's Paul McCartney! Ummm...I mean...The Shins COVERING Paul McCartney! Kind of. James Mercer's love of The Beach Boys is more obvious in this version of McCartney's signature Christmas tune than his love of The Beatles, what the "Good Vibrations"-ish organ to start off the song. The lyrics get either goofed up or added on to at certain parts, so it doesn't exactly feel like a sincere cover, but those who prefer have their holiday tunes sound more psychedelic than plain ol' happy might get a kick out of this version.
Subscribe to:
Posts (Atom)