New songs for September 1st, 2021

 here they are:

"Can't Stop the Rain" by Neal Francis: Neal Francis is a Chicago resident, but he might as well have come from New Orleans with the sound he has cultivated! Both the honky-tonk sound of the piano and the shrill, blues-y guitar of Neal's debut song, "Can't Stop the Rain," hint strongly at a New Orleans blues and jazz influence! The slide guitar is provided here by none other than blues-rocker extraordinaire, Derek Trucks, known for his work in both The Allman Brothers Band and with his wife, the equally blues-y Susan Tedeschi. "Rain" in the context of this song, I suppose, equates to "sadness," from what I can make out from what the rest of the lyrics have to say. Neal Francis really knows how to turn his frown upside-down if that's the case!

"Get Down" by Susto: South Carolinian indie-pop group, Susto, has been around for a few years now. Until this point, I knew them best for the quirky, tongue-in-cheek Christmas song, "R.I.P. Santa." We still have another three months to see if Susto will make another hilarious holiday tune, but in the meantime, we have what could be their breakthrough hit on adult alt radio stations, "Get Down." "Get Down" is a pleasant, upbeat song, but its lyrics concern a friend of one of the band members who was going through both physical and mental health issues at the time the song was written. 

"Mood Ring" by Lorde: This summer, Lorde treated us to a sunny song unlike any she had done previously with "Solar Power." Both its breezy sound and its summery subject matter took Lorde fans by surprise. As the summer winds down, New Zealand's biggest pop star gives us another splash of summer with "Mood Ring." Well, at least in terms of how the song sounds. The lyrics tell a slightly different story. "Mood Ring" was actually written as a mockery of those who like mood rings, as well as various other aspects of "wellness" culture, such as plant-based diets, yogic exercises, tarot cards, horoscopes, and healing crystals. I guess Lorde is back on her game...kind of. The sound of "Mood Ring" is so airy and hippy-dippy, though, that many might mistake it for a song that is lauding the very things it is trying to lampoon! 

New songs for September 18th, 2013

here they are:


"Broken Heart" by Dr. Dog: There are many things to love about Dr. Dog, a band whom I had the pleasure of seeing in concert about a month ago! One of the best things about them is that there isn't a single song I've heard of theirs so far that doesn't sound fun or upbeat! Don't let the lovelorn title of Dr. Dog's latest song fool you, it still continues in their typical musical style. Quirky, clever lyrics are also a defining feature of their music, and the faux-literal opening lyrics to "Broken Heart" ("I never really had a broken heart/I always played it kind of close to my chest") already steer the song in a good direction.


"Come A Little Closer" by Cage the Elephant: In the summer of 2009, Cage the Elephant debuted with their slide guitar laden stomp-rocker, "Ain't No Rest For the Wicked", which is probably their best known song so far. It seemed like that song pigeonholed CTE into being labeled a "frat rock" band, and although many of their songs follow this pattern, some of the material I consider the best from them does not sound like "frat rock" at all! "Shake Me Down", for instance, sounds like it could have been a "Magical Mystery Tour" bonus track. CTE's latest song, "Come A Little Closer", could be their most indie rock influenced song yet! Its pseudo-psychedelic pop sound recalls groups like Grizzly Bear, The Kooks, and The Shins, among others. Another thing to take notice of is that CTE's "softer" tracks (like this one) have smoother vocals, in addition to having a smoother sound.


"Love Won't Bring Us Down" by Ed Roland and The Sweet Tea Project: Ed Roland's post-grunge hit making machine band, Collective Soul, might have been labeled "alternative" during the time they debuted, but Ed's music owes more to the theatrical, in-your-face presence of '70s arena rock than it does to the more aloof, dismal features of grunge and post-grunge. Once the post-grunge phenomenon subsided, Ed seemed to embrace his inner rocker (and occasionally even his inner pop star) a little more, but in my opinion, his latest tune, "Love Won't Bring Us Down", is the most unabashed tribute to 1970's rock he's done so far in the 21st century! The song seems to be influenced by contemporary blues-rockers like Gary Clark Jr. and Susan Tedeschi, albeit with a slightly more pop influenced beat. It has a positive message and a fun sound! What more could you ask for?


"Made Up Mind" by The Tedeschi-Trucks Band: Funny I mentioned Susan Tedeschi during my previous entry for this week, because the next song I'll be talking about just happens to be one of hers! Unlike the more soul inflected "Part of Me" from earlier this year, "Made Up Mind" has a more blues rock influenced sound, like most of the TTB's material. The song's combination of Chuck Berry-ish chord progressions and chug-along rhythms recall many classic rock songs of the '70s, but the guitar solos in the song can't possibly be attributed to any band other than The Tedeschi-Trucks Band. I think I've got a "made up mind", too. My mind's made up, and it's ready to rock!

New songs for February 8th, 2012

Here they are:

"Brothers" by The War On Drugs: If Bob Dylan were the lead singer (and sole harmonica player) of Arcade Fire, it would probably sound like "Brothers" by The War On Drugs. The Dylan influence shouldn't come as too much of a surprise for those who know the solo work of The War On Drug's lead singer, Kurt Vile, who has a bit less of an electronic/ambient influence on his solo records. The depth of the lyrical content and the melancholy feel of "Brothers" is contrasted by how there are only 3 chords throughout the entire song. Kurt Vile and co manage to deliver a bittersweet, affecting, memorable song nonetheless, though, with "Brothers".

"Gotta Be Wrong Sometimes" by O.A.R.: O.A.R. are one of those "hit-or-miss" bands for me. This has been especially apparent ever since they switched their sound from jam band to alt-pop back in 2008. Sometimes O.A.R. still manage to deliver a relatively decent song, though, and "Gotta Be Wrong Sometimes" is one such song. "Gotta Be Wrong Sometimes" also adds a new musical facet to O.A.R.'s catalog - reggae. The throbbing bass sound and pulsating guitar riffs indicate this. Much like The Police and The Clash (among others), O.A.R. add a more rock 'n' roll element to "Gotta Be Wrong Sometimes" once the chorus comes around (and also during the bridge). The song also wraps up nicely with acoustic guitars being strummed.

"Love Interruption" by Jack White: So when's the White Stripes reunion gonna be?! Yeah, I know, Jack White announced the breakup of his one man/one woman rock band last year, but I think he's just pulling our leg. Jack released the moderately successful "Two Against One" with Danger Mouse around May of last year, and now he's got an entire solo ALBUM!! "Love Interruption" is also the most anticipated new song this week, zooming up both the adult alternative and "regular" alternative charts! Amazing how Jack started with rough, garage rock-ish songs like "Fell In Love With A Girl", and now he's progressed to Dylan-esque folk-rock with "Love Interruption". Acoustic guitar is one of the only instruments in "Love Interruption", actually, supported only by Jack's vocals, female backing vocals, and an organ (perhaps the best part of this song). Sadly, "Love Interruption" is only about two and a half minutes long. Why couldn't it have been longer?! Oh well, better that than nothing at all, I say!

"Midnight In Harlem" by The Tedeschi-Trucks Band: What's this?! Susan and Derek now have a FOURTH song hitting the adult alt airwaves?!? Never would've expected THAT!! Neither of them have gotten this much success before! Perhaps it's the diversity of musical influences they've chosen, from gospel, to hard rock, to straight up blues, that has gotten Tedeschi and Trucks this much attention. "Midnight In Harlem" seems to recall the melancholy country-rock of people like Bonnie Raitt (likely one of Susan Tedeschi's biggest influences). Certainly a change of pace from the relentless energy of the other three songs that have gotten attention from The Tedeschi-Trucks band, but "Midnight In Harlem" definitely gels, especially due to the honest, heartfelt emotion that Susan Tedeschi puts into the song! Derek Trucks also puts about as much emotion into his guitar playing as Tedeschi puts into the vocal parts of this song, making for a winning combination once again!

"Old Lady" by Sinead O'Connor: With The Cranberries having also released a new song just three months before this one, I think I can officially say that Irish alt-rock gals are taking over once again! "Old Lady" marks a couple high points for Sinead, I think. First of all, the lyrics to the song are probably some of the most pensive, most reflective I've ever heard from her, revolving around hope that her relationship will literally last a lifetime. Instrumentally, "Old Lady" delivers too. Sinead seemed to move away from alternative rock and more into pop and folk by the time her popularity started to fade away around the mid-'90s, but "Old Lady" picks up where songs like "The Emperor's New Clothes" and "Mandinka" left off. It doesn't have as much of a propulsive, rocking sound as either of those songs, but it does make it sound as though Sinead has gotten more attuned to newer alt-pop/rockers like Snow Patrol, (early) Coldplay, and Travis. Perhaps not what most Sinead fans were expecting, but it seems to be pretty well received so far nonetheless, and, might I add, quite deservedly so

"Rainy Day Girl" by The Villains: The Villains aren't very villainous, are they?! Quite the opposite, really. They have a very benign, accessible sound, and they don't really sound as spectacular or memorable as most of the songs/performers on this week's list, but the faux-U2 sound of this song has still managed to please me, perhaps because it just sounds natural to me, and not so over the top like most of the modern bands influenced by U2. The electric guitar solo in the middle (and end) of "Rainy Day Girl" came as a bit of a surprise to me since most of the song seems more mellow than that. Yeah, the lyrics are pretty generic, but there's still something about this song I like!

"Save Your Best Bits" by The Parlotones: The Parlotones seemed like they got their first taste of attention when they decided to be a supporting act for Coldplay one of their tours, but this sounds more like Cold War Kids than Coldplay. This song is also a far cry from the surging, urgent, energetic feel of The Parlotones' first big song, "Should We Fight Back?" "Save Your Best Bits" is a slower, more heartfelt song. The 'Tones still have some backbone on this song, though. "Save Your Best Bits" is backed by electric guitars that seem to have a "U2 goes indie" sort of sound. That being said, "Save Your Best Bits" really has only one major flaw. Why isn't it longer than three minutes?!? Oh well, it's still likable, and that's what matters the most here.

"You As You Were" by Shearwater: This song comes off like a "piano-rock" version of bands like Fleet Foxes and Grizzly Bear. The lead singer of Shearwater sounds like a cross between Morrissey from The Smiths and Pete Townshend from The Who on this song. So far, this is probably an odd description for "You As You Were", but it's actually one of the best songs on this list as far as I'm concerned! But why?! Well, perhaps because the passionate vocals of the lead singer match almost perfectly with the song's equally passionate piano playing. "You As You Were" seems like it's as much of a sad song as it is a "rush of energy" song. Not many have been able to pull both of those aspects off in such a powerful manner, but Shearwater does so on "You As You Were" with tremendous effort and commitment!

New songs for October 12th, 2011

here they are:

"All Eyes On You" by Diego Garcia: Before I get to reviewing this one, I'd like to apologize for overlooking Diego's previous "hit", "You Were Never There" from earlier this year. It's a very beautiful song and I'm sorry for not reviewing it when I should have. Well, that being said, hopefully my review for Diego's latest, "All Eyes On You" will compensating for my not reviewing his material earlier this year. "All Eyes On You" is a lovely song with beautiful string orchestration that manages to combine the seductiveness of the flamenco guitar with the sensitivity of the typical indie song. The sentimental, melancholy atmosphere of the song tends to make "All Eyes On You" the perfect sort of "sunset music" to me, as I can picture a romantic couple beneath the sunset watching it go down when I listen to this song!

"Come See About Me" by The Tedeschi Trucks Band: Not to be confused with The Supremes' song of the same name (though they are both written in D major), the third single from The Tedeschi-Trucks Band is a tasty rock-blues-'n'-soul romp! Its flavor, aptly enough, is between the brightly righteous soul music of the TT Band's "Bound For Glory", and the electric guitar fueled rock 'n' roll of their other big song, "Learn How to Love", as both the horns and guitar (and Tedeschi's husky, bluesy vocals) are prominently featured instruments in "Come See About Me". Perhaps the title is a sly wink at The Supremes' "Come See About Me", as Tedeschi DOES say "Come see about your baby" in the chorus in addition to the title of the song, which The Supremes also did in their "Come See About Me".

"Dawned On Me" by Wilco: It's been a busy (but exciting) year for Wilco, hasn't it?! There have been three successful songs from their latest CD, "The Whole Love", so far, including the adult alt radio mega hit, "I Might", and "Born Alone", the latter of which I just reviewed last week! Which brings me to their most recent song to get added to radio rotation, "Dawned On Me", which, melodically and vocally (at least in the verses), plays off somewhat like a "serious" version of The Rutles' "A Hard Day's Night" spoof, "I Must Be In Love". Just like The Rutles intentionally use opposites in the verses of "I Must Be In Love" ("I feel good, I feel bad, I feel happy, I feel sad"), Wilco uses the same technique in "Dawned On Me", with a similar rhythmic pattern, too ("I've been young, I've been old, I've been hurt, and consoled"). The chorus and instrumentation are more typical Wilco, though. Still, I'm pretty amazed (and amused) that I'm comparing a Wilco song to one from the self proclaimed "Pre-Fab Four"!!

"Free" by Graffiti 6: Alt-rock hasn't been as simultaneously bouncy and stylish since the days of David Bowie and INXS (of which this song has a somewhat similar sound to the latter band). The lyrics to "Free" tend to come off like the typical love song, nothing too special. The appeal to "Free" lies in its catchy, sleek instrumentation, its unforgettable rhythm, and the wide vocal range of Graffiti 6's lead singer. For a song with rather ordinary lyrics, "Free" is pretty remarkable, though. It's not only a song that doesn't easily leave your head, but its bell-like sounds and string instruments in the background also give it a very distinct flavor!

"Free My Mind" by Katie Herzig: Feels funny reviewing a Katie Herzig song, since I can remember back when she was an unknown "new" musician that got a song of hers played on the well-loved indie/folk public radio showcase, "Morning Becomes Eclectic", a couple years ago. I don't remember much about the song, except for that I liked it and that Katie's last name, "Herzig", sounded unique enough for me to remember it years later! So now, on with Katie's first big song, "Free My Mind". There are many things to like about this song, I think! First off, the instrumentation is rather unusual, even for an "indie" song, with its thumping bass at the beginning, that quickly gets joined by a swirly synthesizer, a somewhat synthesized, propulsive percussion section, and the "classical" sound of both flutes AND a string section backing up a song with an otherwise "contemporary" sound. Katie's cute but dry sounding vocals are also a notable feature of "Free My Mind", as are the lyrics (a sample of which would include, "Maybe this is what the world will see/A tiny little version of the tallest tree/An optical illusion of the human mind/Posing as a real life"). Welcome to the indie bandwagon, Katie. Enjoy the ride!!

"Shake It Out" by Florence and The Machine: For all you dancin' fools who think the title to this song sounds similar to booty shakin' classics like "Twist and Shout" and "Shake It Up", I'm going to issue a warning. "Shake It Out" is NOT supposed to be a "feel good" song. When Florence says to "Shake It Out" in this song, it's not instructions to dance, but rather a way of "shaking out" her inner demons, supposedly regarding a hangover (which also seems to be the theme of Florence and The Machine's biggest hit so far, "Dog Days Are Over"). Though the rhythm of "Shake It Out" IS somewhat danceable, it seems like it is more meant to be therapeutic than it is bouncy. Though I've never been (and likely never will be) one to engage in drinking alcohol, I can somehow still feel Florence's inner pain in this song, and for some reason, I love when songs have that effect on me!!

June BLOOM, 8 new songs for one new month!!

After about a month's absence on here, don't you think it's time I reviewed some new songs?! Well, you're in luck!! Here they are:

"Back Down South" by Kings of Leon: I never would've expected the same guys who debuted back in 2003 with the rough garage-rocker "Molly's Chambers" to have such a melancholy country/folk influenced tune almost a decade later, but lo and behold, KOL have done so with their latest tune, the aptly titled "Back Down South". This song has a very wistful vibe to it, and would probably also make a great "road" song, but not in the energetic, boastful way the typical '70s hard rock song would, but more like the "coming back home" sort of way that a song like "Teach Your Children" or "Heart of Gold" might. If your favorite songs are bittersweet ones, then this might be the one to check out for this week!

"Calgary" by Bon Iver: First of all, for those wondering how "Bon Iver" is pronounced, it's not "Bahn EYE-vur", it's "BONE ee-VAIR", a pun on a French phrase that translates to "good winter". Now that I've gotten that part out of the way, here's a bit of background info on Bon Iver. Though they weren't that big on adult alt stations in 2009, they quickly made a name for themselves nevertheless among indie fans with Nick Drake/Elliott Smith influenced neo-folk-rock such as "Blood Bank", "For Emma", "Re: Stacks", and "Skinny Love". "Calgary" is a bit of a departure from the somber, acoustic sound of these songs. Well, the somber is still there, but the acoustic?! Well, not so much. Instead, more electronic instruments are used, which is a bit of a letdown for me, as the acoustic instrumentation of Bon Iver was part of their charm to me. "Calgary" isn't bad, though. Bon Iver still manage to pull off an uplifting, ethereal sort of sound in spite of the synthesizer dominating the music, in a way that reminds me a great deal of the song "Daniel" by another electro-indie act, Bat For Lashes.

"Can't Keep Johnny Down" by They Might Be Giants: Ahhh, what's not to love about TMBG?! They're two of the goofiest guys in rock history! Even during their debut in the mid-'80s, their unique brand of alternative rock managed to somehow be more suitable for Nickelodeon and Cartoon Network than it was for MTV and VH1. "Can't Keep Johnny Down" takes a turn towards the "darker" side of TMBG, though, which is a bit of a disappointment for me. And why is that such a letdown?! Well, first of all, both their name (taken from a B-movie), and their song titles (including, but not limited to, "Put Your Hands Inside the Puppet Head", "Dr. Worm", and "Birdhouse In Your Soul"), are goofball gold, in the '00s they released a series of children's albums that held just as much appeal to children as they did to Gen X adults nostalgic for the days of "Sesame Street" and "Schoolhouse Rock", and even the material they intended more for an "adult" audience was "kid-friendly" enough that shows like "Tiny Toons" and "Where In the World Is Carmen San Diego?" incorporated the use of their music!! About the "darkest" song in their catalog I can even THINK of is "Don't Let's Start", and even THAT has weird lyrics (i.e. "Wake up and smell the cat food"), and a play on the word "don't" that makes fun of a similar play on the word "love" Nat King Cole was known for using (the one where Nat goes, "L is for the way you look at me...", etc.) There doesn't seem to be ANYTHING redeeming at first about "Can't Keep Johnny Down", though, a song that's primarily about a guy with a difficult life. However, upon closer examination of the lyrics to the song, it's really about a guy who, as the song's title suggests, "can't be kept down" by the troubles he faces in his life. I suppose that makes it more redeeming than it might seem upon initial listening, but I still think TMBG could've done better than this!

"Chapel Song" by We Are Augustines: Both the title of the song and the name of the band might suggest a "Christian rock" band, but it's far closer to bands like Arcade Fire and Modest Mouse, particularly the more melancholy, sentimental side of those bands. Lyrically, this song seems like it would have been perfect for "The Graduate", as they seem to hint at the disappointment the lead singer feels about the girl he loves getting married to another man (could be wrong on this, though, as I haven't yet heard the song that many times). The repetition of both the lyrics (i.e. "I shake, shake, shake like a leaf, and I'm lyin', lyin', lyin' through my teeth") and the progression of the four guitar hooks used throughout the song seem to make it a memorable one!

"Don't Gotta Work It Out" by Fitz and The Tantrums: How do you follow up the success and insanely catchy hooks of the blue-eyed soul smash hit, "MoneyGrabber"?!? Well, I would think that'd be pretty hard!! But Fitz and The Tantrums have managed to do so with their second single, "Don't Gotta Work It Out"! Though it's not as much of a get-up-and-dance song as "MoneyGrabber" was, it still manages to be catchy (and Motown-esque) enough to once again win over the hearts of both classic soul fans and alternative/indie fans. The minor key that "Don't Gotta Work It Out" was written in is also emphasized a bit more than that of "MoneyGrabber"'s minor key, with the exception of "Don't Gotta Work It Out"'s bridge, consisting of an organ playing in F major. Still, this is definitely a song worth checking out for the week!

"Learn How to Love" by The Tedeschi-Trucks Band: If this is supposed to be a follow-up to "Bound For Glory", I kinda feel like it's a bit too early (but perhaps that's because "Bound For Glory" hasn't played on enough stations yet, at least from what I've observed). Unlike the triumphant, chug-along blues-rock of "Bound For Glory", "Learn How to Love" seems to be a bit more of a juicy, gritty blues-rock number. This one definitely emphasizes the "rock" element of "blues-rock", evoking the sounds of many blues-influenced classic rock bands, from Led Zeppelin to ZZ Top to The Allman Brothers (of whom Derek Trucks occasionally plays guitar for), and then some! Who knows, perhaps the hard, solid rock 'n' roll influence of this song will guarantee "Learn How to Love" more success on adult alt radio than "Bound For Glory". We'll see!!

"Rider" by Okkervil River: I think I'm a bit late in my review for this one, but here goes. Though "Rider" has only received airplay on a handful of adult alt stations so far, it seems like its airplay is slowly but surely starting to increase, and it also has a unique sound that managed to capture me immediately upon hearing it! Its sound is the "orchestral indie" sound used frequently in Arcade Fire's music, and used additionally in other indie acts such as Sea Wolf, Edward Sharpe and The Magnetic Zeros, and Andrew Bird. The "orchestral" sound in "Rider" uses piano as the central instrument, and a dynamic and forceful, yet still catchy sort of rhythm. I especially like the end of this song, in which the instruments start to speed up, building up to a fantastic finish! I highly recommend this song!!

"Rise Above 1" by Reeve Carney and U2's Bono and The Edge: Apparently this song is supposed to be a part of the Broadway production of "Spider-Man"!! WHAAA?!? Well, as far as U2 songs go, this one is rather mediocre, I think. The fact that Reeve Carney contributed to this, though, I guess makes this worth listening to, and I kinda like this song despite how "average" it sounds. - EDIT - my bad - I confused my Carneys - it's PATRICK Carney (not REEVE Carney) who sings on this track - Reeve Carney is merely the guy that plays "Spider-Man" in the Broadway production of "Spider-Man", he has nothing to do with The Black Keys - what can I say, I get confused sometimes, and I apologize to those who might have thought I was spreading "false information" online - your fears should be calmed down by now

The Allman Brothers connection (plus one more song)

Interesting that TWO of the songs I'm reviewing this time have alumni of The Allman Brothers featured on the tracks! Here they are (plus one more song):

"Bound For Glory" by The Tedeschi-Trucks Band: A husband and wife match made in blues-rock heaven! Susan Tedeschi is a blues based musician with a heavy influence of Stax Records brand R & B (think Otis Redding, Sam and Dave, etc.) in her music as well, and Derek Trucks is a blues-rock guitarist that occasionally plays in legendary blues-rock combo The Allman Brothers Band. So what do they sound like together?! A powerhouse, that's what! Especially with Derek Trucks mad guitar skills in the middle of what would probably be more of a '60s R & B/gospel pastiche without his contributions. "Bound For Glory" is quite an apt title for a song that builds up to glorious proportions as it continues to chug along!

"Man In Motion" by Warren Haynes: Yet another (occasional) member of The Allman Brothers Band (as well as more contemporary blues-rock musicians, Gov't Mule). The vibe this song gives off is definitely more of a '70s classic rock one than that of the previous song, and in particular, it reminds me of the blues-gone-somewhat-hard-rock feel of Eric Clapton's mid-'70s rock anthem, "Cocaine". Once again, amazingly talented guitar skills show up in this song! What can I say, sometimes you just gotta let out your blues on the 'lectric guitar and ROCK OUT!!

"Will Do" by TV on the Radio: Amazingly, this is the ONLY song I'm reviewing this week that HAS an "indie" feel to it!! Weird, huh?! Anyway, to give you a background on the cleverly named TV on the Radio, they have been around since roughly the mid 2000's, and their material is typically somewhere between the more "experimental" side of classic rock (i.e. David Bowie, Peter Gabriel, Talking Heads, etc.) and the more icy cold, claustrophobic, tensed up feel that bands of the post-punk era typically give off (i.e. Gang of Four, Public Image Ltd., Joy Division, etc.) "Will Do" is, quite possibly, the first TVOTR song that strips away the band's typical post-punk influence and instead goes for more of a '70s "soul ballad" vibe a la Marvin Gaye, though it still has the Gabriel/Bowie type sound dominating the tune. It is also one of the few (if not the only) song by TVOTR that I find has a memorable, catchy chorus ("Anytime will do...my love"), delivered by the smooth, soulful vocals of lead singer Tunde Adebimpe. Though this song is atypical of their style, it's also the first song of theirs so far that's won my affection!