here they are:
"Armageddon's Back In Town" by Drive-by Truckers: Though it is not the first time that contemporary Southern rock outfit, Drive-by Truckers, have dealt with dark subject matter, their latest song, "Armageddon's Back In Town", is probably the first one that deals directly with the concept of the end of the world, as can be evidenced from its title alone. As lead singer Patterson Hood deals with the stress of what has now become everyday life for him and countless others, a lively and fiery Southern rock sound blares in the background, defining the essence of the song. Armageddon seems like it's always been lingering in the shadows of DBT, whose previous subjects have included the devil, protest, and even AIDS, so for Patterson to claim that it's "back in town" seems dubious when it seems to have been there all along for them. Perhaps the one thing that can be said is that "Armageddon" has gotten bigger as time has gone on for DBT.
"Fortune" by Wye Oak: Baltimore indie-pop/rock duo, Wye Oak, are a name that is often mentioned but rarely heard among adult alt radio programmers. Until now, that is. With "Fortune", Wye Oak have finally gotten the attention they've deserved on the Triple A format. And why (no pun intended) is that?! Perhaps it's the haunting combination of slinky, shimmering guitar and lead singer Jenn Wasner's sweet but shaky vocals, both of which are backed by a catchy rhythm. Jenn's yearning lyrics, which never seem to get fully resolved in spite of her earnest searching for answers, might be another part of the equation as to why "Fortune" has captured the public's attention like no Wye Oak song has previously.
"Mariners Apartment Complex" by Lana Del Rey: To paraphrase Patti Smith, Jesus died for somebody's sins, but not Lana Del Rey's. Patti Smith, particularly the softer side of her music, might have just inspired Lana Del Rey in more ways than one here on LDR's latest song, "Mariners Apartment Complex". For one, there's the lyrical theme of struggling with one's faith in a quest to understand oneself on a deeper level, grappling between the sacred and the profane as Patti has done, as well as other rock poets like Leonard Cohen (the song has even been compared lyrically to Cohen's "Chelsea Hotel # 2"). Musically, it sounds like it's evocative of songs from the mid 1970's, during which both Cohen and Smith were active, relevant musicians. Lana uses the name "Jesus" both sincerely ("kiss the sky and whisper to Jesus") and blasphemously ("I f**ked up, I know that, but Jesus, can't a girl just do the best she can?"), perhaps to represent just how conflicted she feels about love...and about religion and spirituality as well (the phrase "big-time believer", used midway through the song, could reference both love and religion). The world might never understand Lana Del Rey fully...but maybe she prefers being misunderstood.
"Somedays (I Don't Feel Like Trying)" by The Raconteurs: With the possible exception of their 2008 song, "Old Enough", The Raconteurs have never sounded as close to Southern rock as they have on their latest song, "Somedays (I Don't Feel Like Trying)". The song contains echoes of Southern rock staples like Lynyrd Skynyrd's "Tuesday's Gone" and The Allman Brothers' "Whipping Post", as Jack White tells a sorrowful tale of how downtrodden he feels sometimes. At only the second line into the song, White claims that the "only trouble is it's doomed from the start", "it" being his heart. Jack has really delved into his inner bluesman with his latest record, but this one feels like the blues-iest and most forlorn he's had to offer so far!
"The Fool" by Overcoats: It seems as though Sleater-Kinney's switch earlier this year from raw, guitar centered punk rock to more melodic yet still aggressive electro-rock has influenced other musicians as well, most notably the all-girl New York duo, Overcoats. "The Fool" is not a song for fools, unlike what its title might indicate. Instead, it is a song for people who want to break free from societal moulds and boldly declare their individuality like none before or since. The duo state that fools are what they do NOT want to be during the chorus of the song, and are tired of "bending over backwards" for others. In doing so, Overcoats have created an excellent song for marching forward into the next decade. One small step for woman, one giant leap for womankind!
Showing posts with label Drive-By Truckers. Show all posts
Showing posts with label Drive-By Truckers. Show all posts
Wednesday, November 27, 2019
Wednesday, September 14, 2016
New songs for September 14th 2016
here they are:
"Holy Commotion" by The Pretenders: Yes, THOSE Pretenders! The legendary rock group led by the sometimes sassy and sometimes sentimental Chrissie Hynde. Chrissie attempted a side project in 2010 and released a solo album two years ago, but she hasn't been on the scene with The Pretenders in 8 years! Just about everything she's done within those 8 years has echoes of her rock and roll past. "Holy Commotion" is kinda rock, but with a different twist than one might expect from The Pretenders. The Black Keys' Dan Auerbach has decided to produce their latest album, resulting in a fuzzy neo-psychedelic sound that also has synthesizers masquerading as skittering steel drums. I currently have mixed feelings about this song, but it's not a bad one, and I think in time it'll probably grow on me like many of the songs I've reviewed have.
"Packed Powder" by Blind Pilot: After hearing the buoyant but glossy "Umpqua Rushing" from earlier this summer, "Packed Powder" is a more straight-up folk-rock tune that seems to encapsulate the simplistic yet alluring sound that Blind Pilot are typically known for. It also provides a more subtle, autumnal song for the upcoming season as the happy, blissful "Umpqua Rushing" did for the summer. "Packed Powder" also has a fittingly introspective lyrical theme about trying to find yourself and knowing your strengths. The electric guitar solo and horn solo towards the end don't seem too out of place for this song, actually, even though it is primarily an acoustic rock tune.
"Radio" by Sylvan Esso: Lyrically, this is basically Elvis Costello's "Radio Radio" minus the repetition of the titular word, with its mentions of being a "slave to the radio" and its claims that the subject of the song is "sucking American d**k". Musically, though, "Radio" is neither punk nor power pop. Instead, it's more of a glammed out techno-pop song. Both the fast beat of this song and its scathing (albeit still quirky) lyrics are quite a surprise coming from the indie-pop duo who was previously best known for the quaint, slow pseudo-baroque-pop summer singalong known as "Coffee".
"Sure And Certain" by Jimmy Eat World: Though Jimmy Eat World's biggest hit, "The Middle", came out in 2001, the song quickly became a favorite of the last remaining fans of the post-grunge genre. Unlike most of the post-grunge influenced bands of the early '00s, Jimmy Eat World was not "nu-metal". Instead, they were an emo group, albeit with more of a subtle sense of humor than most groups who carried such a label. "Sure And Certain" might as well have come out DURING the post-grunge era. It wouldn't sound out of place on a rock radio station that was popular in 1996, '97, or '98. If it weren't for Jim Adkins' distinctive vocals, "Sure And Certain" could easily be in the hands of a band like Semisonic, Third Eye Blind, or Everclear. Familiar '90s rock hits like Dishwalla's "Counting Blue Cars" and Tonic's "If You Could Only See" are both pretty similar to "Sure And Certain" as well. So grab some flannel, put on your Doc Martens, and let's rock!
"Surrender Under Protest" by Drive-by Truckers: "Southern rock" is usually remembered specifically as a musical phenomenon of the 1970's. The three biggest names within the genre, after all, are typically The Allman Brothers Band, Lynyrd Skynyrd, and ZZ Top. The only other time it was really kept alive was in the early '90s by The Black Crowes. This basically makes Drive-by Truckers seem like a 21st century answer to The Black Crowes to me. There haven't been a whole lot of other groups from the past 16 years who have really kept the Southern rock sound so fresh and alive. Their latest song, "Surrender Under Protest", in spite of its overall Southern sound, does not evoke the music of a Southerner, but rather, a Canadian. Both the vocals and the instrumentation of "Surrender Under Protest" sound like Neil Young. In spite of DBT's Southern nationality, they are not right-wingers, but left-wingers, and "Surrender Under Protest" reflects their left-wing politics like no other song they've done so far. The song contains anti-slavery and anti-Second Amendment sentiments that would probably bode better with Neil Young fans than it would with Lynyrd Skynyrd fans.
"Waste A Moment" by Kings of Leon: In true rock fashion, Kings of Leon make a dynamic musical declaration using only two chords with their latest song, "Waste A Moment". Caleb Followill's urgent message of "take your time, don't waste a moment" during the chorus pretty much states what the point of the song is. KOL do not waste a single moment making a buzzingly catchy song like they usually do here. This is one of those songs that is just ripe and ready for radio airplay from the moment it is released, so it'll probably wind up being one of the biggest hits of Fall 2016!
"Holy Commotion" by The Pretenders: Yes, THOSE Pretenders! The legendary rock group led by the sometimes sassy and sometimes sentimental Chrissie Hynde. Chrissie attempted a side project in 2010 and released a solo album two years ago, but she hasn't been on the scene with The Pretenders in 8 years! Just about everything she's done within those 8 years has echoes of her rock and roll past. "Holy Commotion" is kinda rock, but with a different twist than one might expect from The Pretenders. The Black Keys' Dan Auerbach has decided to produce their latest album, resulting in a fuzzy neo-psychedelic sound that also has synthesizers masquerading as skittering steel drums. I currently have mixed feelings about this song, but it's not a bad one, and I think in time it'll probably grow on me like many of the songs I've reviewed have.
"Packed Powder" by Blind Pilot: After hearing the buoyant but glossy "Umpqua Rushing" from earlier this summer, "Packed Powder" is a more straight-up folk-rock tune that seems to encapsulate the simplistic yet alluring sound that Blind Pilot are typically known for. It also provides a more subtle, autumnal song for the upcoming season as the happy, blissful "Umpqua Rushing" did for the summer. "Packed Powder" also has a fittingly introspective lyrical theme about trying to find yourself and knowing your strengths. The electric guitar solo and horn solo towards the end don't seem too out of place for this song, actually, even though it is primarily an acoustic rock tune.
"Radio" by Sylvan Esso: Lyrically, this is basically Elvis Costello's "Radio Radio" minus the repetition of the titular word, with its mentions of being a "slave to the radio" and its claims that the subject of the song is "sucking American d**k". Musically, though, "Radio" is neither punk nor power pop. Instead, it's more of a glammed out techno-pop song. Both the fast beat of this song and its scathing (albeit still quirky) lyrics are quite a surprise coming from the indie-pop duo who was previously best known for the quaint, slow pseudo-baroque-pop summer singalong known as "Coffee".
"Sure And Certain" by Jimmy Eat World: Though Jimmy Eat World's biggest hit, "The Middle", came out in 2001, the song quickly became a favorite of the last remaining fans of the post-grunge genre. Unlike most of the post-grunge influenced bands of the early '00s, Jimmy Eat World was not "nu-metal". Instead, they were an emo group, albeit with more of a subtle sense of humor than most groups who carried such a label. "Sure And Certain" might as well have come out DURING the post-grunge era. It wouldn't sound out of place on a rock radio station that was popular in 1996, '97, or '98. If it weren't for Jim Adkins' distinctive vocals, "Sure And Certain" could easily be in the hands of a band like Semisonic, Third Eye Blind, or Everclear. Familiar '90s rock hits like Dishwalla's "Counting Blue Cars" and Tonic's "If You Could Only See" are both pretty similar to "Sure And Certain" as well. So grab some flannel, put on your Doc Martens, and let's rock!
"Surrender Under Protest" by Drive-by Truckers: "Southern rock" is usually remembered specifically as a musical phenomenon of the 1970's. The three biggest names within the genre, after all, are typically The Allman Brothers Band, Lynyrd Skynyrd, and ZZ Top. The only other time it was really kept alive was in the early '90s by The Black Crowes. This basically makes Drive-by Truckers seem like a 21st century answer to The Black Crowes to me. There haven't been a whole lot of other groups from the past 16 years who have really kept the Southern rock sound so fresh and alive. Their latest song, "Surrender Under Protest", in spite of its overall Southern sound, does not evoke the music of a Southerner, but rather, a Canadian. Both the vocals and the instrumentation of "Surrender Under Protest" sound like Neil Young. In spite of DBT's Southern nationality, they are not right-wingers, but left-wingers, and "Surrender Under Protest" reflects their left-wing politics like no other song they've done so far. The song contains anti-slavery and anti-Second Amendment sentiments that would probably bode better with Neil Young fans than it would with Lynyrd Skynyrd fans.
"Waste A Moment" by Kings of Leon: In true rock fashion, Kings of Leon make a dynamic musical declaration using only two chords with their latest song, "Waste A Moment". Caleb Followill's urgent message of "take your time, don't waste a moment" during the chorus pretty much states what the point of the song is. KOL do not waste a single moment making a buzzingly catchy song like they usually do here. This is one of those songs that is just ripe and ready for radio airplay from the moment it is released, so it'll probably wind up being one of the biggest hits of Fall 2016!
Wednesday, January 29, 2014
Good ol' Southern songs!!
Coincidence that both of the songs I'm reviewing for the week happen to have a country-rock sound?! Well anyway, here they are:
"California (Cast Iron Soul)" by Jamestown Revival: California might not be a Southern state, but the feel of this song is pure Southern country-rock. The song's (and band's) name might be Californian, but the members of the band are actually from Magnolia, Texas, which makes sense, given the way the song sounds. The song is basically a wistful ode to the Golden State (which I'm proud to call MY home), and how much the members of Jamestown Revival admire it. Country and bluegrass music is not exactly the first thing I think of when someone mentions California, but I suppose some of its history (the Gold Rush, for instance) might make for some apt subject matter for a song of the genre.
"Pauline Hawkins" by Drive-By Truckers: Though I've only heard a handful of songs by Drive-By Truckers, it's still pretty hard to mistake Patterson Hood's husky yet expressive vocals! Their unlikely musical blend of Lynyrd Skynyrd and Elliott Smith, along with Hood's singing, are definitive features of both the band, and their latest song, "Pauline Hawkins". At 6 and half minutes, "Pauline Hawkins" feels like a long, drawn out story at certain points, and that's pretty much what it is. Apparently Patterson Hood was inspired to write a song about a character, who happens to be named Pauline Hawkins, from Willy Vlautin's novel, "The Free". Pauline's life and job were both quite harsh, which probably explains the inner angst I felt when listening to the song!
"California (Cast Iron Soul)" by Jamestown Revival: California might not be a Southern state, but the feel of this song is pure Southern country-rock. The song's (and band's) name might be Californian, but the members of the band are actually from Magnolia, Texas, which makes sense, given the way the song sounds. The song is basically a wistful ode to the Golden State (which I'm proud to call MY home), and how much the members of Jamestown Revival admire it. Country and bluegrass music is not exactly the first thing I think of when someone mentions California, but I suppose some of its history (the Gold Rush, for instance) might make for some apt subject matter for a song of the genre.
"Pauline Hawkins" by Drive-By Truckers: Though I've only heard a handful of songs by Drive-By Truckers, it's still pretty hard to mistake Patterson Hood's husky yet expressive vocals! Their unlikely musical blend of Lynyrd Skynyrd and Elliott Smith, along with Hood's singing, are definitive features of both the band, and their latest song, "Pauline Hawkins". At 6 and half minutes, "Pauline Hawkins" feels like a long, drawn out story at certain points, and that's pretty much what it is. Apparently Patterson Hood was inspired to write a song about a character, who happens to be named Pauline Hawkins, from Willy Vlautin's novel, "The Free". Pauline's life and job were both quite harsh, which probably explains the inner angst I felt when listening to the song!
Wednesday, June 12, 2013
New songs for June 12th, 2013
here they are:
"Born Again" by Robert Randolph: Funk, jazz, blues, and rock is the kind of musical gumbo you can expect from Robert Randolph and The Family Band!! It's been about 7 years since Robert last released a CD with The Family Band, though, so I was curious to know if his musical blend still held up well. Not only does his latest song, "Born Again", retain an eclectic musical sound, but it's also incredibly fun to dance to! It has a catchy rhythm. When Randolph says in the chorus of the song that he feels "born again", I think he's referring to more than just the religious sense of the term (if that). I think he's also feeling "born again" musically, as anyone should when listening to a song like this!!
"Don't Want Lies" by The Rides: The name of this band made me think it was another up and coming indie group, but the voice of Stephen Stills (yes, THAT Stephen Stills) on "Don't Want Lies" is unmistakable!! Blues-rock aficionado Kenny Wayne Shepherd is also a part of this group, a supergroup as it turns out (I guess it's the second one Stills has had since Crosby, Stills, Nash, and Young!!) Like the typical CSN & Y song, "Don't Want Lies" uses both electric and acoustic guitars. The acoustic guitars, with their crisp sound, would not have sounded too out of place on a mid-'70s CSN album, and the blues-y electric noodling is brimming with the signature sound of Kenny Wayne Shepherd. And here I thought Neil Young was the only musically active member left of Crosby, Stills, Nash, and Young. Guess I was wrong!! "Don't Want Lies" is a mellow song, but it also has a dynamic enough sound to possibly become a future concert favorite!
"Man" by Neko Case: Neko Case's music has been referred to as "indie rock" and "country rock", but the "rock" element has never been that apparent in her music. Until now, that is! "Man" is quite a "man"-ly song, if you know what I mean!! Perhaps it could be said that both the lyrics and the music of "Man" are an attempt at redefining gender roles. Rock 'n' roll has had its fair share of women before, but usually, phrases like "I'm a man" aren't present in the music of female rockers. That very phrase is the most repeated one (and perhaps, the most defining one) in Neko Case's "Man". This song is not the typical Neko Case song, by any means!! She even throws in a couple choice swears towards the end of the song, which I don't remember her doing in any of her other songs. "Man" rocks hard and pushes boundaries!! Who knew?! I sure didn't!!
"Part of Me" by The Tedeschi-Trucks Band: Yet another talented rock 'n' roll woman from the past decade or so is the blues-y, soulful, Susan Tedeschi! "Part of Me" places more emphasis on soul than on blues or rock, though. Tedeschi's signature slide guitar sound is still present on the song, but most of it just sounds like Sam & Dave's "Soul Man" with the gender roles reversed. Tedeschi and Trucks typically have upbeat music to begin with, but "Part of Me" is probably the most upbeat song they've had together so far! I don't think it's too much of a stretch to describe this song as the first feel-good jam of summer 2013!!
"Royals" by Lorde: This "Lorde" is a lady!! And a very young one, at that (she's 16 years old, believe it or not!!) Unlike the other songs I've chosen to review for this week, there is more emphasis on vocals and rhythm than there are on instruments for "Royals". Nevertheless, there is something quite alluring about "Royals". Perhaps it's the smooth, slinky vocals of Ella Yelich O'Connor (whom, by herself, is "Lorde" - it's her stage name, not the name of a band), or the way the chorus just burns its way into your subconscious when you're trying to concentrate on something else during the day!! At first listen, "Royals" probably just seems like your everyday pop song, but it seems to have this vibe that is both icy and smooth underneath. If you want your Top 40 music to have a bit more sizzle to it, then I highly recommend "Royals"!
"Stockholm" by Jason Isbell: Perhaps both the mellowest and most bittersweet of the songs I have set to review for this week, "Stockholm" marks the second time I've heard a solo release from alt-country group, Drive-By Truckers (the first being Patterson Hood's "Disappear" from last year). Between this song and the Patterson Hood song, I can tell that the Truckers have some talented, accomplished poets in their group! Examples of some of the (mostly) metaphorical, poignant lyrics of Jason's "Stockholm" include lines like, "Ships on the harbor and birds on the bluff don't move an inch when their anchor goes up, and the difference with me is I'm falling in love, Stockholm, let me go home". I love how this song utilizes the themes of loneliness and homesickness in such a playful manner. Highly recommended!!
"Wanna Feel It" by The Olms: Last, but certainly not least, is a song that comes from what you would get if you combined an indie musician (Pete Yorn) with an indie AUTHOR (J.D. King)!! Clearly Pete Yorn is taking the lead in this song by a band whose name refers to an obscure species of amphibian (an olm), with his vocals dominating the song, and his brand of bittersweet, moody folk-rock giving the song its direction. One thing that's not so Pete Yorn-ish about "Wanna Feel It" is its use of Moog synthesizer, creating a psychedelic, hypnotic swirl in the song (J.D.'s idea, perhaps?!) In any case, "Wanna Feel It" makes me...well...wanna feel it!! That is, it makes me wanna feel good!
"Born Again" by Robert Randolph: Funk, jazz, blues, and rock is the kind of musical gumbo you can expect from Robert Randolph and The Family Band!! It's been about 7 years since Robert last released a CD with The Family Band, though, so I was curious to know if his musical blend still held up well. Not only does his latest song, "Born Again", retain an eclectic musical sound, but it's also incredibly fun to dance to! It has a catchy rhythm. When Randolph says in the chorus of the song that he feels "born again", I think he's referring to more than just the religious sense of the term (if that). I think he's also feeling "born again" musically, as anyone should when listening to a song like this!!
"Don't Want Lies" by The Rides: The name of this band made me think it was another up and coming indie group, but the voice of Stephen Stills (yes, THAT Stephen Stills) on "Don't Want Lies" is unmistakable!! Blues-rock aficionado Kenny Wayne Shepherd is also a part of this group, a supergroup as it turns out (I guess it's the second one Stills has had since Crosby, Stills, Nash, and Young!!) Like the typical CSN & Y song, "Don't Want Lies" uses both electric and acoustic guitars. The acoustic guitars, with their crisp sound, would not have sounded too out of place on a mid-'70s CSN album, and the blues-y electric noodling is brimming with the signature sound of Kenny Wayne Shepherd. And here I thought Neil Young was the only musically active member left of Crosby, Stills, Nash, and Young. Guess I was wrong!! "Don't Want Lies" is a mellow song, but it also has a dynamic enough sound to possibly become a future concert favorite!
"Man" by Neko Case: Neko Case's music has been referred to as "indie rock" and "country rock", but the "rock" element has never been that apparent in her music. Until now, that is! "Man" is quite a "man"-ly song, if you know what I mean!! Perhaps it could be said that both the lyrics and the music of "Man" are an attempt at redefining gender roles. Rock 'n' roll has had its fair share of women before, but usually, phrases like "I'm a man" aren't present in the music of female rockers. That very phrase is the most repeated one (and perhaps, the most defining one) in Neko Case's "Man". This song is not the typical Neko Case song, by any means!! She even throws in a couple choice swears towards the end of the song, which I don't remember her doing in any of her other songs. "Man" rocks hard and pushes boundaries!! Who knew?! I sure didn't!!
"Part of Me" by The Tedeschi-Trucks Band: Yet another talented rock 'n' roll woman from the past decade or so is the blues-y, soulful, Susan Tedeschi! "Part of Me" places more emphasis on soul than on blues or rock, though. Tedeschi's signature slide guitar sound is still present on the song, but most of it just sounds like Sam & Dave's "Soul Man" with the gender roles reversed. Tedeschi and Trucks typically have upbeat music to begin with, but "Part of Me" is probably the most upbeat song they've had together so far! I don't think it's too much of a stretch to describe this song as the first feel-good jam of summer 2013!!
"Royals" by Lorde: This "Lorde" is a lady!! And a very young one, at that (she's 16 years old, believe it or not!!) Unlike the other songs I've chosen to review for this week, there is more emphasis on vocals and rhythm than there are on instruments for "Royals". Nevertheless, there is something quite alluring about "Royals". Perhaps it's the smooth, slinky vocals of Ella Yelich O'Connor (whom, by herself, is "Lorde" - it's her stage name, not the name of a band), or the way the chorus just burns its way into your subconscious when you're trying to concentrate on something else during the day!! At first listen, "Royals" probably just seems like your everyday pop song, but it seems to have this vibe that is both icy and smooth underneath. If you want your Top 40 music to have a bit more sizzle to it, then I highly recommend "Royals"!
"Stockholm" by Jason Isbell: Perhaps both the mellowest and most bittersweet of the songs I have set to review for this week, "Stockholm" marks the second time I've heard a solo release from alt-country group, Drive-By Truckers (the first being Patterson Hood's "Disappear" from last year). Between this song and the Patterson Hood song, I can tell that the Truckers have some talented, accomplished poets in their group! Examples of some of the (mostly) metaphorical, poignant lyrics of Jason's "Stockholm" include lines like, "Ships on the harbor and birds on the bluff don't move an inch when their anchor goes up, and the difference with me is I'm falling in love, Stockholm, let me go home". I love how this song utilizes the themes of loneliness and homesickness in such a playful manner. Highly recommended!!
"Wanna Feel It" by The Olms: Last, but certainly not least, is a song that comes from what you would get if you combined an indie musician (Pete Yorn) with an indie AUTHOR (J.D. King)!! Clearly Pete Yorn is taking the lead in this song by a band whose name refers to an obscure species of amphibian (an olm), with his vocals dominating the song, and his brand of bittersweet, moody folk-rock giving the song its direction. One thing that's not so Pete Yorn-ish about "Wanna Feel It" is its use of Moog synthesizer, creating a psychedelic, hypnotic swirl in the song (J.D.'s idea, perhaps?!) In any case, "Wanna Feel It" makes me...well...wanna feel it!! That is, it makes me wanna feel good!
Wednesday, September 19, 2012
New songs for September 19th, 2012
here they are:
"Ain't Messin' Around" by Gary Clark Jr.: Does Gary Clark Jr. have his own schedule or something?! His juicy, blues-rock song "Bright Lights" came out LAST September, and now he's releasing a song in September AGAIN?!? Was this on purpose?! Well, perhaps not, but what is on purpose is Mr. Clark Jr.'s solid delivery of jazz, blues, and rock wrapped up into one tasty slice of music! Coachella's best (and so far, only) bluesman boasts a riff in E major similar to INXS's "New Sensation", only with cleaner distortion and more saxophone backing it up in "Ain't Messin' Around". Bottom line is, when Gary says he "Ain't Messin' Around", you'd better believe him!!
"Change" by Churchill: Somehow, the name of this band doesn't exactly paint an accurate picture of who they really are. I would think that "Churchill" would be a folks-y band with a male lead singer. It's not! It's actually a slick alt-pop group with a female lead singer! Nothing particularly special about this song, as far as I can see, except for how bouncy and danceable it is. Churchill's lead singer is also pretty good at what she does. However, I could easily see "Change" being written off by some as a "Gwen Stefani lite" song. Not bad, but there have definitely been better songs for 2012, as far as I'm concerned.
"Disappear" by Patterson Hood: Supposedly, Patterson's band, Drive-By Truckers, used to have a "jam band" element to their music. However, his two best known songs so far, this one and the Truckers' "Everybody Needs Love", are both more like moody brands of country-rock than jam band music. "Disappear" delves even further into the country-rock subgenre. Where "Everybody Needs Love" at least had a guitar solo, "Disappear" does not. However, given what a bittersweet song "Disappear" is, both lyrically and musically, I don't think it needs one. The violins in the background already provide enough instrumentation for "Disappear" to tug at the heartstrings. A line in the middle of the song, ("Simply disappear, and vanish into thin air, sometimes it's better to just not be there") defines "Disappear" pretty well. It is a song about escaping the pressures of everyday socialization. Though we are social creatures, I think we all feel like escaping from that every once in a while, and Patterson Hood echoes this sentiment quite well!
"Home" by Phillip Phillips: Typically, when "American Idol" goes in a rock direction, it's usually hard rock, as Bo Bice, Chris Daughtry, and James Durbin would all be willing to tell you. It isn't usually folk-rock. Thankfully, Phillip Phillips has proved to be an exception to this. Though I'm not an "Idol" viewer by any means, I must say that I am impressed by Mr. Phillips. "Home" is a song that is influenced by people like The Dave Matthews Band, though it has a more Mumford-esque sound than that as far as I'm concerned. It really does not sound like a typical "Idol" song at all!! There is no big band or production sound backing it up. Just Phillip, his acoustic guitar, backing vocalists, and a light percussion section (and later, a keyboard section). Who knows, perhaps Phillip will start a trend of indie/folk influenced musicians on "American Idol", which would make it a much more watchable show for me! But if not, he'll be remembered as the one participant who made one of the most mainstream shows in American pop culture seem more indie, if only for a moment!
"Little Lizzie Mae" by The Chris Robinson Brotherhood: For the ex-Black Crowes member's second big song with his side project, Chris has decided to kick out the jams once again! But this time, he seems to be drawing from an unlikely source - Van Morrison! The main riff of "Little Lizzie Mae" sounds almost exactly like Morrison's "Blue Money". Sure, there's plenty of Allman Brothers style noodling in "Little Lizzie Mae", but it feels more like jazz-rock than jam rock. Lyrically, "Little Lizzie Mae" sounds like it's about a girl who's (probably) playing Chris Robinson for a fool. That being said, I can't help but feel like Robinson is playing his listeners for fools! Van Morrison isn't exactly the kind of influence I would expect for a "jam band" song, so one might not expect to have a guitar solo between each verse (perhaps a sax solo instead?!) Nonetheless, though, "Little Lizzie Mae" is very much of a "feel good" song in terms of its sound, and you can't go wrong with that!!
"The Ballad of John and Yoko" by Widespread Panic: And speaking of jam bands, here is a (now) legendary jam band covering...a legendary Beatles song?!? Whaaat?!?! Widespread Panic do a decent job at covering the infamous Lennon tune, though. Not as good as the original, but WP put their own unique spin on it! Interestingly, acoustic guitar (and a neat li'l honky tonk style piano) are the main instruments on this version! The electric guitar takes a backseat here. The way I see it, if Jimi Hendrix can take on TWO Bob Dylan tunes, then Widespread Panic can take on (at least) one from The Beatles!!
"Wind and Walls" by The Tallest Man on Earth: Like "1904", the TMOE's hit from earlier this year, "Wind and Walls" is only two things, acoustic guitar and vocals. For such a simple setup, though, The Tallest Man on Earth manages to sound beautiful nonetheless. The lyrics are somewhat enigmatic (for instance, "Singing songs of rivers tied to accidents within/Telling people lies of lions, treasures, and kings"), but that is part of the charm of The Tallest Man on Earth, and how, no matter what he sings, he still manages to make his songs sound soft and sweet (bittersweet, in this case). Highly recommended!
"Ain't Messin' Around" by Gary Clark Jr.: Does Gary Clark Jr. have his own schedule or something?! His juicy, blues-rock song "Bright Lights" came out LAST September, and now he's releasing a song in September AGAIN?!? Was this on purpose?! Well, perhaps not, but what is on purpose is Mr. Clark Jr.'s solid delivery of jazz, blues, and rock wrapped up into one tasty slice of music! Coachella's best (and so far, only) bluesman boasts a riff in E major similar to INXS's "New Sensation", only with cleaner distortion and more saxophone backing it up in "Ain't Messin' Around". Bottom line is, when Gary says he "Ain't Messin' Around", you'd better believe him!!
"Change" by Churchill: Somehow, the name of this band doesn't exactly paint an accurate picture of who they really are. I would think that "Churchill" would be a folks-y band with a male lead singer. It's not! It's actually a slick alt-pop group with a female lead singer! Nothing particularly special about this song, as far as I can see, except for how bouncy and danceable it is. Churchill's lead singer is also pretty good at what she does. However, I could easily see "Change" being written off by some as a "Gwen Stefani lite" song. Not bad, but there have definitely been better songs for 2012, as far as I'm concerned.
"Disappear" by Patterson Hood: Supposedly, Patterson's band, Drive-By Truckers, used to have a "jam band" element to their music. However, his two best known songs so far, this one and the Truckers' "Everybody Needs Love", are both more like moody brands of country-rock than jam band music. "Disappear" delves even further into the country-rock subgenre. Where "Everybody Needs Love" at least had a guitar solo, "Disappear" does not. However, given what a bittersweet song "Disappear" is, both lyrically and musically, I don't think it needs one. The violins in the background already provide enough instrumentation for "Disappear" to tug at the heartstrings. A line in the middle of the song, ("Simply disappear, and vanish into thin air, sometimes it's better to just not be there") defines "Disappear" pretty well. It is a song about escaping the pressures of everyday socialization. Though we are social creatures, I think we all feel like escaping from that every once in a while, and Patterson Hood echoes this sentiment quite well!
"Home" by Phillip Phillips: Typically, when "American Idol" goes in a rock direction, it's usually hard rock, as Bo Bice, Chris Daughtry, and James Durbin would all be willing to tell you. It isn't usually folk-rock. Thankfully, Phillip Phillips has proved to be an exception to this. Though I'm not an "Idol" viewer by any means, I must say that I am impressed by Mr. Phillips. "Home" is a song that is influenced by people like The Dave Matthews Band, though it has a more Mumford-esque sound than that as far as I'm concerned. It really does not sound like a typical "Idol" song at all!! There is no big band or production sound backing it up. Just Phillip, his acoustic guitar, backing vocalists, and a light percussion section (and later, a keyboard section). Who knows, perhaps Phillip will start a trend of indie/folk influenced musicians on "American Idol", which would make it a much more watchable show for me! But if not, he'll be remembered as the one participant who made one of the most mainstream shows in American pop culture seem more indie, if only for a moment!
"Little Lizzie Mae" by The Chris Robinson Brotherhood: For the ex-Black Crowes member's second big song with his side project, Chris has decided to kick out the jams once again! But this time, he seems to be drawing from an unlikely source - Van Morrison! The main riff of "Little Lizzie Mae" sounds almost exactly like Morrison's "Blue Money". Sure, there's plenty of Allman Brothers style noodling in "Little Lizzie Mae", but it feels more like jazz-rock than jam rock. Lyrically, "Little Lizzie Mae" sounds like it's about a girl who's (probably) playing Chris Robinson for a fool. That being said, I can't help but feel like Robinson is playing his listeners for fools! Van Morrison isn't exactly the kind of influence I would expect for a "jam band" song, so one might not expect to have a guitar solo between each verse (perhaps a sax solo instead?!) Nonetheless, though, "Little Lizzie Mae" is very much of a "feel good" song in terms of its sound, and you can't go wrong with that!!
"The Ballad of John and Yoko" by Widespread Panic: And speaking of jam bands, here is a (now) legendary jam band covering...a legendary Beatles song?!? Whaaat?!?! Widespread Panic do a decent job at covering the infamous Lennon tune, though. Not as good as the original, but WP put their own unique spin on it! Interestingly, acoustic guitar (and a neat li'l honky tonk style piano) are the main instruments on this version! The electric guitar takes a backseat here. The way I see it, if Jimi Hendrix can take on TWO Bob Dylan tunes, then Widespread Panic can take on (at least) one from The Beatles!!
"Wind and Walls" by The Tallest Man on Earth: Like "1904", the TMOE's hit from earlier this year, "Wind and Walls" is only two things, acoustic guitar and vocals. For such a simple setup, though, The Tallest Man on Earth manages to sound beautiful nonetheless. The lyrics are somewhat enigmatic (for instance, "Singing songs of rivers tied to accidents within/Telling people lies of lions, treasures, and kings"), but that is part of the charm of The Tallest Man on Earth, and how, no matter what he sings, he still manages to make his songs sound soft and sweet (bittersweet, in this case). Highly recommended!
Wednesday, February 2, 2011
new songs for Feb. 2nd, 2011
here they are:
"Architects And Engineers" by Guster: As if this song wasn't cool enough (which it is), the music video for this song seems to indicate that this song will become this year's "Tighten Up"!! Much like the (initial) video for that song (which eventually became my number one song of 2010), it features a singing puppet that has a name - Sing-Along-Paul. He looks somewhat like a cross between the later "Star Wars" movies' Jar-Jar Binks and the smart-mouthed goat puppet Rufus Leaking from the indie music showcase and quasi-children's show "Pancake Mountain". Musically, all the trademark folk-rock instrumentation and sunny Beach Boys-esque harmonies of the typical Guster song are present, but seriously, the music video for this song just takes the cake!! Someone needs to convince Guster to make a guest appearance on "Sesame Street" - between their quirky sense of humor and their charmingly child-like melodies, they'd be perfect for it!! You can find it on this link:
(http://www.youtube.com/watch?v=svugXFeZQnA)
"Booty City" by Black Joe Lewis and The Honeybears: 2009's best James Brown imitation is back!! Two songs made the adult alt airwaves from these funky retro-soul men back then, "Sugarfoot" and "I'm Broke", but I much preferred the former for its boogie vibe and James Brown-ish vocals and instrumentation. "I'm Broke" just wasn't as catchy, so I didn't know what to anticipate for "Booty City" (though the title alone seemed to indicate it'd be a pretty catchy song)! "Booty City" not only brings back the danceable, funky rhythm of "Sugarfoot", but it's also a bit more heavy on the guitar parts, which makes me happy! "Booty City" is a great song to get yer groove on if you ever feel like doing so!!
"Everybody Needs Love" by Drive-By Truckers: Just the name of this band automatically evokes images of a country influenced group, doesn't it? Well, more accurately, Drive-By Truckers are more of a country-rock group than just plain old country. They're a bit like The Black Crowes with their influences mixing hard rock with country and Southern rock, though "Everybody Needs Love", which is so far their breakthrough song, is a bit more like a "softer" Eagles song (think "Peaceful Easy Feeling", "Lyin' Eyes", etc.). That is, until it gets to the guitar solo midway through (and towards the end, for a second time around) the song, where it takes on more of an Allman Brothers-ish quality, a la "Blue Sky", "Midnight Rider", and "Melissa". "Everybody Needs Love" is a real tearjerker, and it manages to capture the feel of your typical '70s Southern rock/country-rock ballad pretty well, so I would highly recommend it for the fans of the more countrified side of The Allmans, Skynyrd, The Eagles, etc.
"Flirted With You All My Life" by Cowboy Junkies: What a neat concept, an indie-folk band covering indie-folk artist Vic Chestnutt (who, unfortunately, passed away last year). Having not heard Vic's version, I get the idea it's probably a pretty good song given the bittersweet vibe Cowboy Junkies have given it (plus I have a couple indie music loving friends who really seem to like both Vic and Cowboy Junkies). Cowboy Junkies' version almost seems to come off like Rilo Kiley covering The Cure's "Just Like Heaven" (it has practically the same chord sequence - A, E, B minor, D, with an F sharp minor occasionally replacing the D in "Flirted With You All My Life"). "Flirted With You All My Life" seems like one of those "drinking coffee on a Sunday morning" type of songs if you know what I mean (despite the fact I don't actually drink coffee).
"He Don't Live Here No More" by Robbie Robertson: Is it just me, or has Robbie Robertson wanted to stray farther and farther away from The Band's roots-rock sound ever since he left them? His two '80s solo hits, "Showdown At Big Sky" and "Somewhere Down the Crazy River" both sounded more like Peter Gabriel and the material from Paul Simon's "Graceland" album than they did like The Band. Though the "world music rock" trend that Gabriel, Simon, Joni Mitchell, Sting, and occasionally David Byrne from Talking Heads made possible in the '80s has pretty much faded by now, Robbie Robertson keeps the "world music rock" torch flaming in his latest, "He Don't Live Here No More". Robbie adds even more world music influence in "He Don't Live Here No More" with its flamenco guitar solo in the middle. But don't assume Robbie's forgotten how to rock, the beat of the song is still rock 'n' roll underneath it all!
"On Main Street" by Los Lobos: It seems odd to me that the rather somber, autumnal "Burn It Down" from Los Lobos' latest album ("Tin Can Trust") got noticed in the summer, yet it's taken until winter for the more summery, somewhat '60s rock influenced "On Main Street" to receive airplay on stations besides LA's KCSN. Perhaps I shouldn't let the "seasonal moods" of the two songs get in the way, though, as "On Main Street" is an easygoing feel-good kinda song. The fuzzy electric guitar riffs on "On Main Street" also provide interesting contrast with the mostly acoustic (until the end) "Burn It Down". The summery vibe of "On Main Street" evokes images of laying down underneath the sun on the beach just relaxing the day away. Could Los Lobos' next song be a stormy, ice-cold, wintry one?! I guess we'll find out!
"Second Chance" by Peter Bjorn and John: What do you get if you take the fuzz guitars of '60s psych-pop band Love's "7 And 7 Is", cowbells to keep the rhythm, and add just a dash of the new wave-y indie rock of Phoenix?! You get Peter Bjorn and John's latest song, "Second Chance"!! This is a pretty cool song coming from a band whose only other hit (so far) was the more subdued, quiet (except for the drum intro) indie-pop tune from '06, "Young Folks". Somehow I get the impression that the three Swedish indie-popsters were listening to The Black Keys' latest album, "Brothers" when they made "Second Chance", as it has practically the same sort of "fuzz guitars" as many of the songs on that CD! "Young Folks" was a mostly keyboard oriented song, so I was pretty surprised to hear not only that "Second Chance" even had a guitar to begin with, but that the solos seemed to be taken straight out of one of Led Zeppelin's songs!! Way to go, Peter Bjorn and John! Between this song and the video for "Architects and Engineers", I can't decide which one is my fave song of the week!!
"Architects And Engineers" by Guster: As if this song wasn't cool enough (which it is), the music video for this song seems to indicate that this song will become this year's "Tighten Up"!! Much like the (initial) video for that song (which eventually became my number one song of 2010), it features a singing puppet that has a name - Sing-Along-Paul. He looks somewhat like a cross between the later "Star Wars" movies' Jar-Jar Binks and the smart-mouthed goat puppet Rufus Leaking from the indie music showcase and quasi-children's show "Pancake Mountain". Musically, all the trademark folk-rock instrumentation and sunny Beach Boys-esque harmonies of the typical Guster song are present, but seriously, the music video for this song just takes the cake!! Someone needs to convince Guster to make a guest appearance on "Sesame Street" - between their quirky sense of humor and their charmingly child-like melodies, they'd be perfect for it!! You can find it on this link:
(http://www.youtube.com/watch?v=svugXFeZQnA)
"Booty City" by Black Joe Lewis and The Honeybears: 2009's best James Brown imitation is back!! Two songs made the adult alt airwaves from these funky retro-soul men back then, "Sugarfoot" and "I'm Broke", but I much preferred the former for its boogie vibe and James Brown-ish vocals and instrumentation. "I'm Broke" just wasn't as catchy, so I didn't know what to anticipate for "Booty City" (though the title alone seemed to indicate it'd be a pretty catchy song)! "Booty City" not only brings back the danceable, funky rhythm of "Sugarfoot", but it's also a bit more heavy on the guitar parts, which makes me happy! "Booty City" is a great song to get yer groove on if you ever feel like doing so!!
"Everybody Needs Love" by Drive-By Truckers: Just the name of this band automatically evokes images of a country influenced group, doesn't it? Well, more accurately, Drive-By Truckers are more of a country-rock group than just plain old country. They're a bit like The Black Crowes with their influences mixing hard rock with country and Southern rock, though "Everybody Needs Love", which is so far their breakthrough song, is a bit more like a "softer" Eagles song (think "Peaceful Easy Feeling", "Lyin' Eyes", etc.). That is, until it gets to the guitar solo midway through (and towards the end, for a second time around) the song, where it takes on more of an Allman Brothers-ish quality, a la "Blue Sky", "Midnight Rider", and "Melissa". "Everybody Needs Love" is a real tearjerker, and it manages to capture the feel of your typical '70s Southern rock/country-rock ballad pretty well, so I would highly recommend it for the fans of the more countrified side of The Allmans, Skynyrd, The Eagles, etc.
"Flirted With You All My Life" by Cowboy Junkies: What a neat concept, an indie-folk band covering indie-folk artist Vic Chestnutt (who, unfortunately, passed away last year). Having not heard Vic's version, I get the idea it's probably a pretty good song given the bittersweet vibe Cowboy Junkies have given it (plus I have a couple indie music loving friends who really seem to like both Vic and Cowboy Junkies). Cowboy Junkies' version almost seems to come off like Rilo Kiley covering The Cure's "Just Like Heaven" (it has practically the same chord sequence - A, E, B minor, D, with an F sharp minor occasionally replacing the D in "Flirted With You All My Life"). "Flirted With You All My Life" seems like one of those "drinking coffee on a Sunday morning" type of songs if you know what I mean (despite the fact I don't actually drink coffee).
"He Don't Live Here No More" by Robbie Robertson: Is it just me, or has Robbie Robertson wanted to stray farther and farther away from The Band's roots-rock sound ever since he left them? His two '80s solo hits, "Showdown At Big Sky" and "Somewhere Down the Crazy River" both sounded more like Peter Gabriel and the material from Paul Simon's "Graceland" album than they did like The Band. Though the "world music rock" trend that Gabriel, Simon, Joni Mitchell, Sting, and occasionally David Byrne from Talking Heads made possible in the '80s has pretty much faded by now, Robbie Robertson keeps the "world music rock" torch flaming in his latest, "He Don't Live Here No More". Robbie adds even more world music influence in "He Don't Live Here No More" with its flamenco guitar solo in the middle. But don't assume Robbie's forgotten how to rock, the beat of the song is still rock 'n' roll underneath it all!
"On Main Street" by Los Lobos: It seems odd to me that the rather somber, autumnal "Burn It Down" from Los Lobos' latest album ("Tin Can Trust") got noticed in the summer, yet it's taken until winter for the more summery, somewhat '60s rock influenced "On Main Street" to receive airplay on stations besides LA's KCSN. Perhaps I shouldn't let the "seasonal moods" of the two songs get in the way, though, as "On Main Street" is an easygoing feel-good kinda song. The fuzzy electric guitar riffs on "On Main Street" also provide interesting contrast with the mostly acoustic (until the end) "Burn It Down". The summery vibe of "On Main Street" evokes images of laying down underneath the sun on the beach just relaxing the day away. Could Los Lobos' next song be a stormy, ice-cold, wintry one?! I guess we'll find out!
"Second Chance" by Peter Bjorn and John: What do you get if you take the fuzz guitars of '60s psych-pop band Love's "7 And 7 Is", cowbells to keep the rhythm, and add just a dash of the new wave-y indie rock of Phoenix?! You get Peter Bjorn and John's latest song, "Second Chance"!! This is a pretty cool song coming from a band whose only other hit (so far) was the more subdued, quiet (except for the drum intro) indie-pop tune from '06, "Young Folks". Somehow I get the impression that the three Swedish indie-popsters were listening to The Black Keys' latest album, "Brothers" when they made "Second Chance", as it has practically the same sort of "fuzz guitars" as many of the songs on that CD! "Young Folks" was a mostly keyboard oriented song, so I was pretty surprised to hear not only that "Second Chance" even had a guitar to begin with, but that the solos seemed to be taken straight out of one of Led Zeppelin's songs!! Way to go, Peter Bjorn and John! Between this song and the video for "Architects and Engineers", I can't decide which one is my fave song of the week!!
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