here they are:
"Blue Moon" by Beck: As the title alone indicates, "Blue Moon" is a sad song. Beck has been quite the busy man as of the past couple years, having had one single each (so far) between 2012 and 2014. All three of those songs were melancholy, and Beck's pining vocals, doleful lyrics, and swaying acoustic guitars definitely make "Blue Moon" a tearjerker. Over the past 20 years, he's proven he's far more than just a guy with a penchant for rap-rock hybrid songs with lyrical nonsense in their content. His worth as a more fragile musician seems to have come full circle with "Blue Moon", and there will probably be more to come in the near future for the '90s greatest musical chameleon!
"Coming of Age" by Foster the People: Foster the People are yet another band who never seemed to follow trends, yet wound up making big hits anyway! During the height of the success of their biggest hit to date, "Pumped Up Kicks", most alt-pop songs used guitars, and Foster the People used mostly synths (until the last minute and a half of the song). Now, it seems as though the tables have been turned for FTP. Many alt-pop songs now tend to rely more on synths than guitars, so Foster the People now have a "guitar song" on their hands with "Coming of Age". From its spacey David Bowie-ish intro to its INXS-ish guitar hooks, "Coming of Age" seems to gather its musical influences from many of the finest classic alternative-rock-meets-dance-pop musicians. "Coming of Age" also seems like it has a more consistent blend of deep in thought lyrics and progressive sound, unlike "Pumped Up Kicks", whose bouncy melody belied dark lyrics.
"Happy" by Pharrell Williams: Many of the best movies to have a song or two from their soundtrack hit the adult alt airwaves are usually ones like "Juno", "Garden State", or "Into the Wild". They aren't usually from feel-good family movies like "Despicable Me 2", which Pharrell Williams' "Happy" just happens to be from! Why this song was released to radio a little over 6 months after its initial release, I have no idea, but at least it IS getting airplay. The song "Happy" accompanies one of the most memorable scenes in "Despicable Me 2", during which the main character, Gru, has just admitted that he is head over heels in love with feisty, quirky redhead, Lucy Wilde. Naturally, this makes him, well, "happy", and the mood of the song itself is just irresistible!! You won't be able to get this song out of your head! Perhaps that's a good thing, though, considering what emotion it is intended to bring out in people!
"This Is A Game" by Nick Waterhouse: Ummmm...why is Chubby Checker spilling out of my radio all of a sudden?! And why is he playing surf guitars that sound like they might fit in well with the 1960's "Batman" theme song?! Well, I don't know, but man, I sure like this song!! It almost reminds me of the "Mermaidman And Barnacle Boy" theme song from "Spongebob Squarepants" (which itself is supposed to be a spoof of the "Batman" theme). The manic energy of this song wraps up in a matter of merely three minutes with a jazzed up howl!! Now why isn't it surfin' weather yet?! This song sure makes me wanna do something like that!!
"We're All In This Together" by Sam Roberts: The guitars seem kinda Black Keys-ish, but the piano here is in Sam's own style! In his native Canada, Sam is incredibly well known, but here in the U.S., he remains an "underground" artist. Are us Americans afraid of a little variety?! I can't really see any other reason Sam Roberts isn't a well known musician in the States, personally. None of his songs sound quite like the other, but a lot of them are pretty catchy nonetheless. He really seems to let out his inner rocker in this song. This song has apparently been compared to that of many legendary rockers, ranging from The Who to Jane's Addiction!
Showing posts with label Foster the People. Show all posts
Showing posts with label Foster the People. Show all posts
Wednesday, January 22, 2014
Wednesday, September 28, 2011
Lucky number seven strikes again!!!
This is the third time within about a month long period that I've reviewed seven songs!! Must be my lucky month!
One more thing before I begin. An edit to last week's post, in which I referred to Dale Earnhardt Jr. Jr. as one guy - they are actually two people, not one. I apologize. The kids these days and their weird band names, and their gadgets and gizmos and...ok enough of that. On with the reviews!!
"Did I Let You Know?" by Red Hot Chili Peppers: So how have RHCP decided to follow up their smash hit of summer 2011, "The Adventures of Rain Dance Maggie"?! The answer to that is with "Did I Let You Know?", a song that delves into rather eclectic territory for The Chili Peppers, with its tropical island-y sound (and rad sax solos to boot!) The goofy but craftily delivered lyrics (i.e. "I want to lean on you/Get Jan and Dean on you", and "I like your cheeky/Oh so Mozambique-y") also seem to make it clear that RHCP probably intended the "island-y" sound they went for on this song, what with the references to surf music (Jan and Dean) and countries where the temperature is more likely to be warmer than colder (Mozambique). If The Chili Peppers had only decided to release their latest CD, "I'm With You" in late spring instead of mid-summer, "Did I Let You Know?" probably would have made the perfect summer hit!! Better late than never, though, I suppose.
"Don't Stop (Color On the Walls)" by Foster the People: Do Foster the People have a knack for making catchy songs, or what?!? Their late spring/early-to-mid summer smash, "Pumped Up Kicks", a song that brings to mind the lyrical dissonance of other happy, melodic songs with questionable lyrics like The Boomtown Rats' "I Don't Like Mondays", became one of the most successful songs of the year (in multiple genres, at that). Where "Pumped Up Kicks" went for a rather mysterious, keyboard dominated, new wave-y sound, FTP's latest tune, "Don't Stop (Color On the Walls)" centers more around the guitar (both acoustic and electric are used here), is bouncy all the way around, and evokes the swirly vibes of neo-psychedelia. For those concerned about lyrical content, "Don't Stop (Color On the Walls)" provides an interesting contrast to "Pumped Up Kicks" in that context as well. The lyrics almost seem childlike in "Don't Stop..." (for instance, in the second verse, "We're all just having fun/Sleigh boat ride, piggy back ride/I'm going to show them all how I can ride/1, 2, 3, close your eyes and count to four, I like to hide behind my bedroom door/Crayons on walls, I'll color on them all")
"Miami Virtue" by Umphrey's McGee: If you put The Grateful Dead and Pink Floyd's music and put them in a blender, you'd probably get a sound close to the half jam band/half progressive rock sound of Umphrey's McGee, a band with a considerable cult following, but who had never (until now) got airplay even on "underground" radio stations, probably because they were more about experimentation than melody and/or catchiness. Their latest, "Miami Virtue", definitely sounds more like Floyd than it does The Dead (with traces of Canadian prog-rock band Rush in there too, much to my surprise). Never would have expected so many flashy synthesizers dueling with '70s style electric guitar distortion in a song by Umphrey's McGee, but if that's what it takes to make people want to pay more attention to them, that's not necessarily a bad thing. "Miami Virtue" has enough memorable hooks to get stuck in one's head easily (something that probably can't be said about most of Umphrey's material). Just try to remember that if you hear this song mixed in with various indie, alt-pop, and contemporary folk songs that the station that played that has NOT switched over to a "classic rock" format without warning.
"Saw You First" by Givers: "Givers" seems like such a fitting name for a band with such a bright, optimistic sound (as though they're "giving" their music to share with all the world)! The irresistibly catchy "Up Up Up" was a great song to dance and sing along to in the summer of this year, and as fall approaches, their song "Saw You First" is also apt for the season it's come out in, with its more melancholy but still harmonious, chirpy sound. A bit more acoustic/electric mingling on "Saw You First" as well, which is another factor that makes it worth listening to in my opinion. In spite of the rather yearning emotions "Saw You First" tends to elicit, it's still a fun song to dance to! Please check this one out if you haven't already!!
"Surfer King" by A.A. Bondy: A.A. Bondy is one of those musicians who has been loved among indie fans for quite awhile now, but is only starting to gain attention on adult alt radio stations. If "Surfer King" ends up becoming the one song he's known for, it will probably end up representing his typical sound well (though I don't know for sure since this is the only song I really know by him so far). It is a gentle, sighing, breezy song that sounds a lot like the "softer" material of bands like My Morning Jacket and Band of Horses (it uses similar distortion to MMJ's "Thank You Too!" and BOH's "No One's Gonna Love You"). Even Bondy's vocals sound a bit like Jim James from My Morning Jacket in this song. "Surfer King" is an absolutely beautiful, poignant, poetic song that paints pictures of a purplish-pink sunset along the ocean waves in my head. I think this is my fave song of the week!! Highly recommended!!
"The Keeper" by Chris Cornell: In his glory days with the grunge band Soundgarden, the words "Chris Cornell" and "soothing" might not have been used in the same sentence very often. Chris started to explore more acoustic guitar once he went solo, however, and "The Keeper" is his most sentimental song to date, putting him in the same musical class as other rock 'n' roll giants gone folk such as Robert Plant and Eddie Vedder. Lyrically, "The Keeper" is a very sad song with a rather mysterious central message ("I may not be The Keeper of the flame/But I am The Keeper"). Perhaps this song might make some of Soundgarden's most loyal fanbase a bit upset, but it's nice to hear the quieter side of Cornell, away from the chaos and anger that surrounded songs like "Black Hole Sun" and "Fell On Black Days".
"Well Well" by Beth Hart and Joe Bonamassa: Beth Hart was a singer/songwriter from the early '00s, best known for the vaguely Alanis Morissette-ish "L.A. Song". Joe Bonamassa is one of the few contemporary country singers not to have a "commercial" flavor or approach to his music. So what do they sound like together?!? A jammin' country-blues-rock duo, that's what!! A bit more fiery and Allman Brothers-ish ("One Way Out", anyone?) than most of the material either of them have done, "Well Well" serves a high point for both Beth and Joe! Who knew Beth Hart had such a convincing, powerful inner Janis Joplin?! I sure didn't, but she's good at it. Joe's vocal contributions to the song aren't as distinctive but he still manages to do a decent job at it!
One more thing before I begin. An edit to last week's post, in which I referred to Dale Earnhardt Jr. Jr. as one guy - they are actually two people, not one. I apologize. The kids these days and their weird band names, and their gadgets and gizmos and...ok enough of that. On with the reviews!!
"Did I Let You Know?" by Red Hot Chili Peppers: So how have RHCP decided to follow up their smash hit of summer 2011, "The Adventures of Rain Dance Maggie"?! The answer to that is with "Did I Let You Know?", a song that delves into rather eclectic territory for The Chili Peppers, with its tropical island-y sound (and rad sax solos to boot!) The goofy but craftily delivered lyrics (i.e. "I want to lean on you/Get Jan and Dean on you", and "I like your cheeky/Oh so Mozambique-y") also seem to make it clear that RHCP probably intended the "island-y" sound they went for on this song, what with the references to surf music (Jan and Dean) and countries where the temperature is more likely to be warmer than colder (Mozambique). If The Chili Peppers had only decided to release their latest CD, "I'm With You" in late spring instead of mid-summer, "Did I Let You Know?" probably would have made the perfect summer hit!! Better late than never, though, I suppose.
"Don't Stop (Color On the Walls)" by Foster the People: Do Foster the People have a knack for making catchy songs, or what?!? Their late spring/early-to-mid summer smash, "Pumped Up Kicks", a song that brings to mind the lyrical dissonance of other happy, melodic songs with questionable lyrics like The Boomtown Rats' "I Don't Like Mondays", became one of the most successful songs of the year (in multiple genres, at that). Where "Pumped Up Kicks" went for a rather mysterious, keyboard dominated, new wave-y sound, FTP's latest tune, "Don't Stop (Color On the Walls)" centers more around the guitar (both acoustic and electric are used here), is bouncy all the way around, and evokes the swirly vibes of neo-psychedelia. For those concerned about lyrical content, "Don't Stop (Color On the Walls)" provides an interesting contrast to "Pumped Up Kicks" in that context as well. The lyrics almost seem childlike in "Don't Stop..." (for instance, in the second verse, "We're all just having fun/Sleigh boat ride, piggy back ride/I'm going to show them all how I can ride/1, 2, 3, close your eyes and count to four, I like to hide behind my bedroom door/Crayons on walls, I'll color on them all")
"Miami Virtue" by Umphrey's McGee: If you put The Grateful Dead and Pink Floyd's music and put them in a blender, you'd probably get a sound close to the half jam band/half progressive rock sound of Umphrey's McGee, a band with a considerable cult following, but who had never (until now) got airplay even on "underground" radio stations, probably because they were more about experimentation than melody and/or catchiness. Their latest, "Miami Virtue", definitely sounds more like Floyd than it does The Dead (with traces of Canadian prog-rock band Rush in there too, much to my surprise). Never would have expected so many flashy synthesizers dueling with '70s style electric guitar distortion in a song by Umphrey's McGee, but if that's what it takes to make people want to pay more attention to them, that's not necessarily a bad thing. "Miami Virtue" has enough memorable hooks to get stuck in one's head easily (something that probably can't be said about most of Umphrey's material). Just try to remember that if you hear this song mixed in with various indie, alt-pop, and contemporary folk songs that the station that played that has NOT switched over to a "classic rock" format without warning.
"Saw You First" by Givers: "Givers" seems like such a fitting name for a band with such a bright, optimistic sound (as though they're "giving" their music to share with all the world)! The irresistibly catchy "Up Up Up" was a great song to dance and sing along to in the summer of this year, and as fall approaches, their song "Saw You First" is also apt for the season it's come out in, with its more melancholy but still harmonious, chirpy sound. A bit more acoustic/electric mingling on "Saw You First" as well, which is another factor that makes it worth listening to in my opinion. In spite of the rather yearning emotions "Saw You First" tends to elicit, it's still a fun song to dance to! Please check this one out if you haven't already!!
"Surfer King" by A.A. Bondy: A.A. Bondy is one of those musicians who has been loved among indie fans for quite awhile now, but is only starting to gain attention on adult alt radio stations. If "Surfer King" ends up becoming the one song he's known for, it will probably end up representing his typical sound well (though I don't know for sure since this is the only song I really know by him so far). It is a gentle, sighing, breezy song that sounds a lot like the "softer" material of bands like My Morning Jacket and Band of Horses (it uses similar distortion to MMJ's "Thank You Too!" and BOH's "No One's Gonna Love You"). Even Bondy's vocals sound a bit like Jim James from My Morning Jacket in this song. "Surfer King" is an absolutely beautiful, poignant, poetic song that paints pictures of a purplish-pink sunset along the ocean waves in my head. I think this is my fave song of the week!! Highly recommended!!
"The Keeper" by Chris Cornell: In his glory days with the grunge band Soundgarden, the words "Chris Cornell" and "soothing" might not have been used in the same sentence very often. Chris started to explore more acoustic guitar once he went solo, however, and "The Keeper" is his most sentimental song to date, putting him in the same musical class as other rock 'n' roll giants gone folk such as Robert Plant and Eddie Vedder. Lyrically, "The Keeper" is a very sad song with a rather mysterious central message ("I may not be The Keeper of the flame/But I am The Keeper"). Perhaps this song might make some of Soundgarden's most loyal fanbase a bit upset, but it's nice to hear the quieter side of Cornell, away from the chaos and anger that surrounded songs like "Black Hole Sun" and "Fell On Black Days".
"Well Well" by Beth Hart and Joe Bonamassa: Beth Hart was a singer/songwriter from the early '00s, best known for the vaguely Alanis Morissette-ish "L.A. Song". Joe Bonamassa is one of the few contemporary country singers not to have a "commercial" flavor or approach to his music. So what do they sound like together?!? A jammin' country-blues-rock duo, that's what!! A bit more fiery and Allman Brothers-ish ("One Way Out", anyone?) than most of the material either of them have done, "Well Well" serves a high point for both Beth and Joe! Who knew Beth Hart had such a convincing, powerful inner Janis Joplin?! I sure didn't, but she's good at it. Joe's vocal contributions to the song aren't as distinctive but he still manages to do a decent job at it!
Wednesday, April 27, 2011
New songs for Apr. 27th, 2011
Here they are:
"Pumped Up Kicks" by Foster the People: I've always been somewhat entertained by the idea of "lyrical dissonance" in music, and "Pumped Up Kicks" is one such example of a newer song that uses this technique. The lyrics are very grim, as they are (probably) about someone going on a shooting spree, yet the music suggests something upbeat and danceable (though still with minor chords), slightly similar to Peter, Bjorn, and John's song "Young Folks". The title is also a bit deceiving, as "Pumped Up Kicks" sounds like it should be about dancing (or perhaps one of many strange metaphors for sexual intercourse), but it isn't. Clearly, Foster the People are a clever band if they can manage to come up with material like this!
"Roll Away Your Stone" by Mumford and Sons: It appears as though London's favorite Irish-sounding indie-folk-rock quartet are back a THIRD time around on the adult alt charts!! I adore the intro of this song, with its rhythm matching that of a typical "Irish jig" (and, also, the rhythm of the "Spongebob Squarepants" theme song), but once the vocals kick in and the rhythm speeds up, I can't help but think that American audiences probably WANTED this to be the third major Mumford and Sons song, as it really just sounds like a combination of the rhythm of "Little Lion Man" and the chords of "The Cave". M & S are really a much more diverse band than that, with the lively, muted-trumpet-dominated sound of "Winter Winds", the melancholy, regretful "White Blank Page", and even a sound that evokes Springsteen's "Nebraska" in "After the Storm". That being said, though, "Roll Away Your Stone" is certainly not a bad song, it just makes me a little afraid that if it gets popular enough that some American audiences will begin complaining that Mumford and Sons' songs all "sound the same", which, if you listen to the examples of the (currently) lesser known M & S songs I listed, you will find that such is not the case!
"The Last Crusade" by Sam Roberts: Canadian rocker Sam Roberts is a very eclectic one from what I've heard in his material so far, which includes the upbeat roots-y indie pop/rock of "Them Kids", and piano-rocker "Detroit '67". So how does his latest song, "The Last Crusade", fare in comparison?! Well, I think it's even better than those songs are, personally!! It seems to come off as a grittier, edgier version of some of the more "jam band"-oriented songs from The Dave Matthews Band (think "What Would You Say?", "Too Much", etc.) It fuses jazz, blues, and rock effortlessly like the typical DMB song, yet the "alternative" vibe that Sam Roberts tends to give off in this song is purely his own! We need more musically diverse songs/bands/artists like this in today's musical climate, I think!
"Pumped Up Kicks" by Foster the People: I've always been somewhat entertained by the idea of "lyrical dissonance" in music, and "Pumped Up Kicks" is one such example of a newer song that uses this technique. The lyrics are very grim, as they are (probably) about someone going on a shooting spree, yet the music suggests something upbeat and danceable (though still with minor chords), slightly similar to Peter, Bjorn, and John's song "Young Folks". The title is also a bit deceiving, as "Pumped Up Kicks" sounds like it should be about dancing (or perhaps one of many strange metaphors for sexual intercourse), but it isn't. Clearly, Foster the People are a clever band if they can manage to come up with material like this!
"Roll Away Your Stone" by Mumford and Sons: It appears as though London's favorite Irish-sounding indie-folk-rock quartet are back a THIRD time around on the adult alt charts!! I adore the intro of this song, with its rhythm matching that of a typical "Irish jig" (and, also, the rhythm of the "Spongebob Squarepants" theme song), but once the vocals kick in and the rhythm speeds up, I can't help but think that American audiences probably WANTED this to be the third major Mumford and Sons song, as it really just sounds like a combination of the rhythm of "Little Lion Man" and the chords of "The Cave". M & S are really a much more diverse band than that, with the lively, muted-trumpet-dominated sound of "Winter Winds", the melancholy, regretful "White Blank Page", and even a sound that evokes Springsteen's "Nebraska" in "After the Storm". That being said, though, "Roll Away Your Stone" is certainly not a bad song, it just makes me a little afraid that if it gets popular enough that some American audiences will begin complaining that Mumford and Sons' songs all "sound the same", which, if you listen to the examples of the (currently) lesser known M & S songs I listed, you will find that such is not the case!
"The Last Crusade" by Sam Roberts: Canadian rocker Sam Roberts is a very eclectic one from what I've heard in his material so far, which includes the upbeat roots-y indie pop/rock of "Them Kids", and piano-rocker "Detroit '67". So how does his latest song, "The Last Crusade", fare in comparison?! Well, I think it's even better than those songs are, personally!! It seems to come off as a grittier, edgier version of some of the more "jam band"-oriented songs from The Dave Matthews Band (think "What Would You Say?", "Too Much", etc.) It fuses jazz, blues, and rock effortlessly like the typical DMB song, yet the "alternative" vibe that Sam Roberts tends to give off in this song is purely his own! We need more musically diverse songs/bands/artists like this in today's musical climate, I think!
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