New songs for June 22nd 2016

here they are:


"All I Ever Wonder" by St. Paul and The Broken Bones: Retro-soul revivalists St. Paul and The Broken Bones are on the run once again! In addition to the Al Green-ish R & B they've already become known for, St. Paul and The Broken Bones have a bit of an added gospel influence in their latest song, "All I Ever Wonder", that wasn't exactly apparent on their previous songs. So what is it that they "ever wonder", you may ask? Well, the song is basically about trying to make it through difficult situations. Perhaps the high-spirited gospel influenced sound of the song serves as a way to find light through the darkness of life.


"Better Love" by Hozier: The hits just keep on comin' from Irish soul/alt-pop hybrid, Hozier. Nearly half of his debut album has become well loved among indie and alt fans. With news of a new Hozier song that was NOT on his debut album, I thought maybe he had already released a sophomore effort! Sadly, this is not the case. His newest song, "Better Love", is actually a song featured exclusively on the soundtrack of the new movie, "The Legend of Tarzan". Most of Hozier's songs deal with the battle between the sacred and the profane, but it seems like it is mainly the former that is being focused on in this case. This is especially evident on the chorus when Hozier proudly proclaims that "there's no better love that beckons above me". What does sacred, pure love have to do with Tarzan?! As someone who has not seen the movie yet, I have yet to find out, but I'm guessing it has something to do with some heroic triumph that the title character has towards the end of the film.


"Good Grief" by Bastille: Since when has Charlie Brown joined an indie-pop group?! Come to think of it, that'd probably be pretty fitting for everyone's favorite "blockhead", considering how heavy the weight of his problems are, but I digress. Actually, "Good Grief" is pretty energetic for British indie-pop stars, Bastille, in spite of its pessimistic sounding title. The song plays out like Queen and David Bowie's "Under Pressure" filtered through a bright, flashy indie-pop lens. It seems to be more of a song about missing a girl than it is about general frustration (which I thought it would have been due to its title.)

New songs for June 15th 2016

here they are:


"Cleopatra" by The Lumineers: Simon and Garfunkel seem like a pretty obvious influence on bands like The Lumineers, but they've never sounded more like them in both a musical and a lyrical sense than on "Cleopatra", albeit with a slight influence from the softer side of Southern rock as well. Lead vocalist Wesley Schultz weaves a tale filled with metaphor and the struggle between the sacred and the profane in this song. Songs such as Joni Mitchell's "Free Man In Paris" might have also influenced "Cleopatra", as both songs center around protagonists whose genders are the opposite of that of their narrators. In "Cleopatra", Wesley sings as a "young actress" who basically tells the story of her life and career in vivid detail.


"Good Girls" by Elle King: Who you gonna call?! Elle King, apparently! The "Ex's And Oh's" jazz-rock songstress is featured on the soundtrack of a "Ghostbusters" remake. This fierce, feisty, and fun blast of music comes off like a blues-y Stevie Nicks trying to cover "These Boots Are Made For Walkin'". Elle scratchily croons about how she "does what the good girls don't" in a sinfully sweet song filled with references to the unpleasant side of the afterlife in a manner that is more playful than scary. Hell hasn't been this tempting since Squirrel Nut Zippers sang about it back in '97!


"Take It From Me" by Kongos: Just like on their smash hit (and debut song) "Come With Me Now", Kongos have roared back onto the alt and adult alt charts with a song where rock guitars and "Graceland"-esque accordions collide! "Take It From Me" is song that's sure to scorch up your summer (in a good way, of course)! As this quartet of South African brothers proclaim on "Take It From Me", "nothing can stop me". Indeed, nothing CAN stop them from being one of the few 2010's bands that are liked equally by rock, pop, and alt fans! They've got all the good music in a single package here!

New songs for June 8th, 2016

here they are:


"All We Ever Knew" by The Head and The Heart: Well, this isn't ALL we ever knew about The Head and The Heart, that's for sure! Their signature piano sound is still the centerpiece of their latest track, "All We Ever Knew", but the roots-y down-homy-ness that the band has been known for seems like it's vanished from their work in this song. Instead, we get a clap-heavy, brightly colored sing-along punctuated by "la-la's" in between that seems like Josiah, Chris, Charity, and co's attempt at gaining a hit on the pop airwaves. There's a bit of salvation for old school Head & The Heart fans during the middle and end of the song where a violin sound appears, but for the most part, this song just doesn't seem the same as the others by the happy-with-their-sound band I saw about two summers ago at the Hollywood Bowl. I guess one thing the band IS starting to pick up on that I hadn't noticed in their other songs is lyrical dissonance. Witness, for instance, when Josiah sings, "You don't see why your world has no love to give? Well, what goes around comes around." Very cutting lyrics for such a happy song, dont'cha think?!


"Grand Canyon" by The Wind and The Wave: A song that opens with the lyrics, "Down to your skivvies at the watering hole, gonna get you wet, gonna save your soul" just gets you in the mood for summertime, doesn't it?! (Not to mention that upbeat acoustic guitar based sound before the lyrics come in). The title of the song as well, "Grand Canyon", also evokes summery images. Guy-girl folk-rock duo, The Wind and The Wave, sure know how to release a song at the right time of year, don't they?! The title of the song comes from lead vocalist Patricia Lynn Drew's insistence in the song that "You haven't lived until you've gone to the Grand Canyon". The fun, free spirited vibe of the song's rhythm is just as fun and free spirited as its lyrics and the delivery in which they're sung. Next stop, the beach!


"Low Life" by X Ambassadors (featuring Jamie N Commons): Despite Jamie N Commons' "Rumble And Sway" becoming one of the most played songs of 2013 on adult alt stations, not a lot of people seem to know who Jamie N Commons is, and he hasn't had a hit since then (until now, that is). As for X Ambassadors?! Who DOESN'T know "Renegades"?! The song was all over the radio and commercials in summer of last year, and their followup hit, the more melancholy but still memorable "Unsteady", was almost as inescapable. "Low Life" is what happens when alt-pop superstars join forces with a blues-y jazzy one-hit wonder, a combination that no one was probably anticipating, but a good one nonetheless. This is by far the blues-iest and jazziest song that X Ambassadors have had so far, and perhaps a song that could gain them a new audience in the process. Lead vocalist Sam Harris repeatedly claims he's "nothing but a low life" in this song, but he sure doesn't SOUND like a low life. He sounds like anything but, as a matter of fact!


"Never Gonna See Me Cry" by Good Old War: GOW are a good band, to be sure, but I'm just not feelin' it with the songs on their latest album. Their previous hit, "Tell Me What You Want From Me" just seemed to have way too much shiny, clean pop production, but at least it had the band's trademark folk-y guitar sound. In "Never Gonna See Me Cry", there isn't even a hint of acoustic guitar. Judging from the solo of the song, GOW seem to want to be going the other way around, actually, though it's mostly just a plain ol' pop song as far as I can tell. You're never gonna see me cry with this song, but you are gonna see me disappointed. It's not terrible, though.


"Opening Statement" by Hard Working Americans: Roots-rock supergroup Hard Working Americans are already releasing their sophomore album! It seemed like their debut was more recent than that, but it was actually from December 2013. Anyway, the slow burning roots-rock sound of HWA's "Opening Statement" is kinda similar to their debut single, "Down to the Well". Todd Snider's vocals are also similar to how they were on "Down to the Well". Nothing exactly remarkable about "Opening Statement", but it's still worth listening to on days when you just want to laze about and not have to worry about anything, 'cause it just gives off that kinda vibe.


"Wow" by Beck". Wow! Just...wow! That's all I gotta say about this one! OK, so it's not THAT impressive, but this IS Beck we're talkin' about here, so the title fits the song at least somewhat. Like his 2015 song, "Dreams", "Wow" is a single-only song that takes on the form of neo-psychedelic dance-pop. "Wow" actually hearkens back to Beck's early days with its zonked out hip-hop influenced rhythm. The chorus only contains two phrases, "It's like 'wow'" and "It's like right now", but they stick in your head like glue from dawn 'till dusk once you hear "Wow" for the first time. The self-proclaimed "loser" does it again, folks!

New songs for the first of June 2016

here they are:


"Let Me Get By" by The Tedeschi-Trucks Band: Once again, we find Susan and Derek experimenting with retro sounds during a modern time. Janis Joplin-esque vocals collide with Allman Brothers-ish guitars and a distinctly early '70s sounding organ to buoy The TTB's latest song, "Let Me Get By" in just the right direction. As the second single from their latest album, "Let Me Get By" bears noticeable distinction from the album's first single, "Anyhow". "Anyhow" was a slow jam that totaled to 6 and a half minutes. "Let Me Get By", on the other hand, is a fast jam that only goes to 4 and a half minutes, about the average length of a rock or alternative song these days. "Anyhow" also seemed like a bittersweet love song, where "Let Me Get By" seems to have the opposite sentiment in mind, as Susan repeatedly states, "get out of my way" during the chorus of "Let Me Get By".


"Oblivius" by The Strokes: Yess, the misspeling uv this songs tidle iz intenshunal. As for the song itself? It appears to be unlike anything The Strokes have ever done before. It sounds a bit like Blondie attempting to cover the funk/disco classic, "Pick Up the Pieces". The Strokes have had danceable songs before, but this seems like it's SPECIFICALLY meant for dancing to at clubs and the like. An interesting move for The Strokes, who started out sounding like how punk rock did before it had a name, with their Velvet Underground and Television influences worn on their sleeve. It appears as though they are now trying to sound more like Talking Heads or Blondie, both of whom were influenced by The Velvets and Television, but took their sound in a new direction.


"White Flag" by Joseph: Joseph?! Joseph who?! Is this a band who omitted the "and the Technicolor Dreamcoat" part out of their name?! No, and it is not a guy named Joseph either. As a matter of fact, it isn't even a guy AT ALL, but a trio of women!! Mixing the icy techno-pop beats of Lorde with the lush harmonies of First Aid Kit, Joseph's debut song, "White Flag", is a very soothing and alluring song that also manages to be somewhat catchy. As you probably expected, this song, like Dido's song of the same title, is about having the willingness to surrender, as that is what a "white flag" is symbolic of in lyric and prose. As Paul Weller from British punk group, The Jam, once said, this song will have you "succumb(ing) to the beat surrender!"

The third time's the charm!

What is Borns' followup song to "Electric Love" and "10,000 Emerald Pools"? What is Houndmouth's followup song to "Sedona" and "Say It"? Find out tonight, in this edition of my weekly music blog!


"American Money" by Borns: The sultry sound and Borns' androgynous vocals pretty much define "American Money". Comparisons of this song have been drawn, musically and vocally, to icily enjoyable indie-pop musicians like Lana Del Rey and Lorde, in spite of the fact that lead vocalist Garrett Borns is a male. "American Money" sounds more like the title of a political protest song than a love song, but it is actually the latter. The title comes from the description Garrett gives of his lover's eyes, "green like American money". Likening a body part to dollar bills doesn't exactly sound like the most seductive thing in the world to me, but hey, whatever works!


"My Cousin Greg" by Houndmouth: "My cousin Greg, well he's a greedy son of a..." well, you probably know which word comes after the phrase "son of a". What a way to start out a song! However, that's the way neo-roots-rock group Houndmouth open their latest song, "My Cousin Greg". For Houndmouth, time probably stopped somewhere between 1969 and '70, when bands like The Band, The Grateful Dead, and The Allman Brothers Band were getting their careers off the ground, which is kinda funny considering that the members of Houndmouth don't look like they're older than their mid 30's. "My Cousin Greg" seems to evoke the sounds of all three of these groups. The song also seems to serve as a subtle warning against taking too much pleasure in fame, as the words, "If you want to live the good life, well you better stay away from the limelight" make up the chorus of the song. This is a lesson Houndmouth themselves could have learned before "Sedona" became a surprise radio hit on alt-rock stations!

New songs for May 18th 2016

here they are:


"All For One" by The Stone Roses: Contrary to popular belief, The Stone Roses' name actually has nothing to do with The Rolling Stones, but rather to do with a novel from the late 1950's. That hasn't stopped The Stone Roses from trying to rock it like The Stones can in "All For One", though, The Roses' first song in over 20 years! Despite nominally being a "rock band", The Stone Roses songs don't often SOUND like rock, with the notable exception of the blues-y "Love Spreads". "All For One" lays it heavy on the rock instrumentation, though. Based around a rhythm that can be found in many rock songs ranging from The Doors' "Roadhouse Blues" to David Bowie's "The Jean Genie" and a three-chord vamp in the key of G major, "All For One" combines the fervent passion for melodies that power pop has with the red-hot punch of garage rock. The rock 'n' rollers among my followers will probably also dig the brief but noteworthy guitar solo in the middle of the song, too!


"Not A One" by The Young Wild: Hmm, it's Hall and Oates...or is that Bruce Hornsby...Richard Marx, perhaps?! Well it definitely isn't ANY of those musicians, but there's something I can't put my finger on that makes 'em sound like they'd fit right in with an '80s soft rock playlist. Decidedly modern sounding guitars can be heard in the background during the chorus, but other than that it sounds kinda cheesy, albeit enjoyably so. It's like Grouplove trying to cover an '80s Billy Joel song. Awkward, to be sure, but endearingly awkward. That piano hook is also catchy enough to be used on commercials, too.


"The Community of Hope" by PJ Harvey: Fittingly, I first heard this song by '90s proto-hipster queen PJ Harvey at an independent record store while purchasing a book about alternative rock music from the '90s. PJ is still just as left-of-center as ever, but the unbridled rage she was known for the '90s calmed down by the time the next decade rolled around. Her latest song, "The Community of Hope", sounds unusually happy for a PJ Harvey song. Behind that happiness, though, lies Harvey's typical cynicism. "The Community of Hope" is actually about the Hope VI, a project in which the central aim was gentrification of neighborhoods. Harvey unleashes her negative opinions of the Hope VI, even going so far as to refer to it as a "Demolition Project" in both this song and its album. Elsewhere, she refers to South Capitol as "the highway to death and destruction", aptly so considering the city's crime rates. Towards the end, she repeats the phrase "They're gonna build a Wal-Mart here" as though it is a madness mantra. Miss Harvey, tear down those walls!

Rudolph the Red Nosed Radiohead!! (and three other good ones)

I can't help myself. I'm a goofball sometimes. The video for Radiohead's "Burn the Witch" looks so much like those stop-motion Christmas specials from Rankin-Bass that I just had to reference that somewhere in the title of this week's blog! Anyway, on we go!!


"Burn the Witch" by Radiohead: What happens when you put Rankin Bass Christmas specials, persecution of women based on false accusation, a classical orchestra, and electronic beats into the same setting?! You probably were going to say either "a bad dream" or "an acid trip", but the answer is Radiohead, whom I guess kinda resemble those two things sometimes! The song that combines all these factors, "Burn the Witch", is calming and edgy all at once, like a lot of Radiohead's songs tend to be. Both the lyrics of "Burn the Witch" and its accompanying Rankin-Bass-goes-to-the-dark-side music video are Thom Yorke's way of expressing criticism towards many facets of contemporary society. For instance, the song's chorus of "Abandon all reason/Avoid all eye contact/Do not react/Shoot the messenger/Burn the witch" could be interpreted as a "madness mantra" against how foolishly people tend to react to political events (just about any events, really). The jarring yet brilliantly hilarious juxtaposition between innocent children's show imagery and people causing chaos amongst themselves also lends itself to many interpretations, one of which is the dissonance between the idea of "family values" and how grim some think the reality of such "values" can be as a result of impinging them upon society. After seeing the music video for "Burn the Witch" (https://www.youtube.com/watch?v=yI2oS2hoL0k), you might never look at "Rudolph the Red Nosed Reindeer" the same way again!!


"Casual Party" by Band of Horses: Band of Horses have experimented with quite a few sounds on the rock spectrum during the 2010's. "Laredo" found BOH trying out a sound that mixed CCR with Gram Parsons, "Knock Knock" was BOH at their most rock 'n' roll sounding, and their latest tune, "Casual Party", is BOH at their most alt-pop-y. What do I mean by that?! Well, think along the lines of groups like Walk the Moon or Neon Trees, but with a slightly quirkier direction in sound and not as much synth reliance. It's a long way off from sensitive power pop ballads like "No One's Gonna Love You" and "The Funeral", but it still manages to work relatively well for the band. The vibe of "Casual Party" makes it sound like it belongs at a nightclub on the beach (or perhaps a beach turned into a nightclub) that exists solely in the listener's imagination. The keyword to "Casual Party" seems to be "party", as there appears to be more emphasis placed on the instruments and the energy they give off than on the lyrics of the song.


"Dark Necessities" by Red Hot Chili Peppers: Hard to believe RHCP have been popular for 25 years, and around for just a little over 30, isn't it?! Well, it seems like Anthony, Flea, and the boys have taken to being an aging rock group rather well. Their latest song, "Dark Necessities" even sounds a little like The Who's "Eminence Front", albeit a notch or two softer. It's notable for being one of the first (if not THE first) RHCP song with a piano as one of its leading instruments. The band who once prided themselves on being relentlessly wild funk-rockers who frequently performed half-naked onstage are growing up, it seems, with this song. It's not as though they haven't had mature songs before. After all, their biggest hit, "Under the Bridge", is probably one of the saddest songs I have known, especially towards the end. "Dark Necessities" seems to really solidify the "mature" aspect of The Chili Peppers, though, like hardly any other songs I have known by them, as if they are responding to the induction they got into the Rock and Roll Hall of Fame 4 years ago.


"Need You Tonight" by Bonnie Raitt: Bonnie sure has eclectic taste in cover songs, and she does them rather well, too! 2012 saw the release of her spiced-up reggae inflected version of soft rocker Gerry Rafferty's "Right Down the Line". Neither Rafferty nor Raitt have much of anything in common with Australian rock group, INXS, yet that is who Raitt is choosing to cover this time around! INXS seem to be unsung heroes when it comes to influencing the indie rock scene, influencing at least in part a number of popular indie groups like Phoenix, TV on the Radio, The 1975, and Walk the Moon, among others, yet rarely talked about as an influence on such groups. I thought one of them would have covered "Need You Tonight" before Bonnie did, but lo and behold, I was wrong!! "Need You Tonight" is a funk-rock classic that came out about a decade after funk had its day in the limelight, and many a rock historian knows that funk has its roots in the blues, which Bonnie Raitt is excellent at playing, so perhaps it should have come as such a huge shock to me that she chose to cover this one, but it did. Nonetheless, Raitt's spin on this song manages to pack in both more funk and more riffs than the original version did! If only Michael Hutchence could have heard this version, I think he would have loved it!