here they are:
"Again And Again" by Dave Matthews Band: After the wild adult alt radio success that DMB had with "Samurai Cop (Oh Joy Begin)" earlier this year, Dave and his band return just in time for fall 2018 with "Again And Again". As opposed to the sprightly, shimmering rocker that "Samurai Cop" was, "Again And Again" is a slow burning jazz and funk influenced rock tune. Dave's intricately jazzy guitar work shines on this song, as it typically does on DMB songs where electric guitar functions as the central instrument. One thing worth noting about "Again And Again" is how it is a minor key song during the verses, but a major key song during the chorus. The song ends on a fadeout of the chorus, which means, fortunately, that it ends in a major key, which is how DMB fans seem to like their songs to end!
"Homesick" by The Marcus King Band: What are the odds that I blog about two songs in a row with a similar style?! Well, I'm not sure, but this time, it just happens to be the case! Contemporary bluesman Marcus King churns out his second adult alt radio hit with "Homesick", which combines jazz, blues, soul, and rock in a similar manner to The Dave Matthews Band. Marcus has a distinctively more Southern flavor than DMB, though, in "Homesick", which lasts for a total of 6 and a half minutes. The song is the type that fans of groups like The Allman Brothers or The Black Crowes might be drawn to, both of whom combine the Southern rock sound with "jam band" aesthetics, like Marcus King is doing here. Gritty guitars meet bright brass in "Homesick", keeping the old flames of both rock and soul burning passionately!
"Move" by Milo Greene: Milo Greene haven't had a hit since 1957...oh...I mean Milo Greene haven't had a hit since 2012 with their SONG, which was CALLED "1957". Ahem. Now that I've cleared that up, a bit about Milo Greene, for those who don't know. First, they are a quartet, not one person. In case you're wondering why "Milo" sounds like a girl, that's why. Singer Marlana Sheetz takes the lead on their latest song, "Move". The group shares both male and female vocalists, like Fleetwood Mac, which Milo Greene sound like an electronic indie-pop version of on "Move". Imagine a quirky techno-pop remix of "Dreams" and you've got "Move" in a nutshell. Marlana sexily croons on the chorus that she's "the only one who makes" the object of her desire "move". Whether she's referring to dancing or to a more intimate act is left up to the listener's imagination, which will be left echoing with Marlana's sultry vocals after listening to this song!
Showing posts with label Milo Greene. Show all posts
Showing posts with label Milo Greene. Show all posts
Wednesday, August 29, 2018
Wednesday, September 12, 2012
New songs for September 12th, 2012
here they are:
"Fire Bug" by JD McPherson: The greatest '50s rock sensation that never was had a big hit on the adult alt charts earlier this year with "North Side Gal", and now he's burnin' up those charts again with his latest song, "Fire Bug"! With its pounding Jerry Lee Lewis style pianos, Chuck Berry style guitars, and soulful saxophones, "Fire Bug" sounds like the perfect song for a 1950's diner to be playing. Like "North Side Gal", "Fire Bug" is yet another song about an object of JD's affections. An ordinary subject, but an extraordinary song, so much so, that it probably wouldn't matter what JD sang about, as long as he delivered it with enough passion and energy!
"Let Me Lie" by Trey Anastasio: For a jam band aficionado, you'd probably expect a more complex, or at least a more electric guitar oriented song from Phish's leading man. But no, Trey has decided to mellow out and unplug for his latest song, "Let Me Lie". Even the lyrics ("Gonna take my bike out, gonna take my bike, gonna ride it slowly, ride it just how I like") suggest that Trey doesn't want to go all Jerry Garcia on us this time like he usually does, he just wants to take a break from all that fast paced life out on the road. For a man who's been jammin' his brains out for more than 20 years, both with and without Phish, I'd say that "Let Me Lie" is a well deserved break for Trey. Not that I don't enjoy it when he jams, though, he's great at that!!
"Love Is A Fire" by Courrier: With a sound that comes halfway between Snow Patrol and The Killers, Courrier already seem poised for success with their debut single, "Love Is A Fire". Somehow, though, even though Courrier have a solid, dynamic, appealing sound, something seems missing from their music. Perhaps because their lyrics (like the chorus, "Can you hear my heart, hear my heart now? Love is a fire and it's burning me down") seem ordinary in comparison to those that Gary Lightbody and Brandon Flowers typically deliver in their music. Courrier don't even seem to have the "tight harmony" concept that make songs by groups like Scars on 45 so profound sounding to me. Yet somehow, I still like Courrier, and I still like this song. It's not bad. I just think it needs a little improvement, and I think that Courrier have potential to make better songs.
"1957" by Milo Greene: Has it somehow become a trend to use 20th century years in indie-pop/rock song titles?! First there was Phoenix's "1901", and earlier this year, The Tallest Man on Earth put out a song called "1904". Now, thanks to Milo Greene (a band, not a person), we have our third "year song" in the indie-pop category, "1957". "1957" also utilizes other trends in indie-pop/rock. Like Of Monsters and Men, Edward Sharpe and The Magnetic Zeros, The Civil Wars, and The Lumineers, Milo Greene are a band that plays bittersweet folk-rock with a guy and girl sharing vocals, somewhat like a modern day Mamas and Papas. The video for the song is particularly interesting, in that it plays out like a three and a half minute version of current indie flick, "Ruby Sparks". The guy in the video appears to be writing a story about this girl, he falls for her, she appears to be real, but she turns out to (more than likely) just be imaginary. Surreal enough for ya?! The video can be viewed at http://www.youtube.com/watch?v=k8Mc8YRigmw
"Teardrop Windows" by Benjamin Gibbard: So Death Cab's leading man has finally decided to go solo, eh? Well, it sounds like...ummm...not that different from Death Cab themselves. However, "Teardrop Windows" is a relief for me since its sound hearkens back to the bittersweet folk-rock Death Cab initially became known for, as opposed to the more electronic flourishes of more recent Death Cab songs like "You Are A Tourist" and "Underneath the Sycamore". As you might expect from a song with the word "teardrop" in the title, "Teardrop Windows" has both a moody sound and moody lyrics (even the opening lyrics, "Teardrop windows crying at the sky, he's all alone and wondering why"). But Ben doesn't let the tears flow too hard in "Teardrop Windows", since the song has a somewhat catchy backbeat, as well as a good balance of major and minor chords throughout the song.
"Fire Bug" by JD McPherson: The greatest '50s rock sensation that never was had a big hit on the adult alt charts earlier this year with "North Side Gal", and now he's burnin' up those charts again with his latest song, "Fire Bug"! With its pounding Jerry Lee Lewis style pianos, Chuck Berry style guitars, and soulful saxophones, "Fire Bug" sounds like the perfect song for a 1950's diner to be playing. Like "North Side Gal", "Fire Bug" is yet another song about an object of JD's affections. An ordinary subject, but an extraordinary song, so much so, that it probably wouldn't matter what JD sang about, as long as he delivered it with enough passion and energy!
"Let Me Lie" by Trey Anastasio: For a jam band aficionado, you'd probably expect a more complex, or at least a more electric guitar oriented song from Phish's leading man. But no, Trey has decided to mellow out and unplug for his latest song, "Let Me Lie". Even the lyrics ("Gonna take my bike out, gonna take my bike, gonna ride it slowly, ride it just how I like") suggest that Trey doesn't want to go all Jerry Garcia on us this time like he usually does, he just wants to take a break from all that fast paced life out on the road. For a man who's been jammin' his brains out for more than 20 years, both with and without Phish, I'd say that "Let Me Lie" is a well deserved break for Trey. Not that I don't enjoy it when he jams, though, he's great at that!!
"Love Is A Fire" by Courrier: With a sound that comes halfway between Snow Patrol and The Killers, Courrier already seem poised for success with their debut single, "Love Is A Fire". Somehow, though, even though Courrier have a solid, dynamic, appealing sound, something seems missing from their music. Perhaps because their lyrics (like the chorus, "Can you hear my heart, hear my heart now? Love is a fire and it's burning me down") seem ordinary in comparison to those that Gary Lightbody and Brandon Flowers typically deliver in their music. Courrier don't even seem to have the "tight harmony" concept that make songs by groups like Scars on 45 so profound sounding to me. Yet somehow, I still like Courrier, and I still like this song. It's not bad. I just think it needs a little improvement, and I think that Courrier have potential to make better songs.
"1957" by Milo Greene: Has it somehow become a trend to use 20th century years in indie-pop/rock song titles?! First there was Phoenix's "1901", and earlier this year, The Tallest Man on Earth put out a song called "1904". Now, thanks to Milo Greene (a band, not a person), we have our third "year song" in the indie-pop category, "1957". "1957" also utilizes other trends in indie-pop/rock. Like Of Monsters and Men, Edward Sharpe and The Magnetic Zeros, The Civil Wars, and The Lumineers, Milo Greene are a band that plays bittersweet folk-rock with a guy and girl sharing vocals, somewhat like a modern day Mamas and Papas. The video for the song is particularly interesting, in that it plays out like a three and a half minute version of current indie flick, "Ruby Sparks". The guy in the video appears to be writing a story about this girl, he falls for her, she appears to be real, but she turns out to (more than likely) just be imaginary. Surreal enough for ya?! The video can be viewed at http://www.youtube.com/watch?v=k8Mc8YRigmw
"Teardrop Windows" by Benjamin Gibbard: So Death Cab's leading man has finally decided to go solo, eh? Well, it sounds like...ummm...not that different from Death Cab themselves. However, "Teardrop Windows" is a relief for me since its sound hearkens back to the bittersweet folk-rock Death Cab initially became known for, as opposed to the more electronic flourishes of more recent Death Cab songs like "You Are A Tourist" and "Underneath the Sycamore". As you might expect from a song with the word "teardrop" in the title, "Teardrop Windows" has both a moody sound and moody lyrics (even the opening lyrics, "Teardrop windows crying at the sky, he's all alone and wondering why"). But Ben doesn't let the tears flow too hard in "Teardrop Windows", since the song has a somewhat catchy backbeat, as well as a good balance of major and minor chords throughout the song.
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