here they are:
"End of the World With You" by Calexico: And here we have yet another indie-folk-rock group with a song that spews political commentary in 2017 (you could probably guess by the title). However, like most of Calexico's songs, "End of the World With You" is still a very mellow song. Interestingly, the "-exico" suffix that makes up Calexico's name doesn't seem to carry as much significance on this song as they did on their previous albums. The jaunty horn sections of mariachi bands are almost always present on Calexico's songs, but not on this one. A stray electric guitar seems to take its place. Lead singer Joey Burns sings about love and time "in the age of the extremes" in this song. It's tough to survive in this day and age. That's why music is here to save the day!
"Live In the Moment" by Portugal. The Man: Who would have guessed that Portugal. The Man would have one of THE biggest hits of the year with "Feel It Still"?! I sure wouldn't have! The song was big enough for Miley Cyrus to lip sync on Jimmy Fallon's show, though. Who can blame 'em?! The song was pretty catchy! "Live In the Moment" continues PTM's newfound knack for catchiness, which has never come on quite as strongly as it has this year. With an electro-pop sound and a beat that recalls Gary Glitter's "Rock And Roll Part 2", "Live In the Moment" will probably be another mega-hit for PTM. Of course, this will probably lead some people to believe that they're "selling out", but I see it as just another step of artistic growth for the band!
"Matter of Time" by Sharon Jones and The Dap-Kings: It was only a matter of time before Sharon Jones exited the world in November of last year in her early 60's after a battle with pancreatic cancer. The energetic, feisty soul singer injected new life into the R & B genre in the mid 2000's and early 2010's that sounded far more like Aretha Franklin than it did like Beyonce. Thankfully, Sharon's record company decided to release another song of hers that was unreleased during her lifetime. "Matter of Time" is probably one of the bluesiest songs in her catalog, built almost entirely around E7 and A7 chords, and even a brief bluesy guitar solo in between some of the verses. "Matter of Time" is a song of hope, and it's a good song to listen to. The only thing I'm wondering is this. Why couldn't this song have been released right before she died?! I'm sure it would have helped a lot of people if that was the case!
"No Roots" by Alice Merton: Take the bass riff of The White Stripes' "Seven Nation Army" and make it into a pop song. What have you got?! You've got "No Roots" by Alice Merton, a song that's as daring as it is fun! Lyrically, the song is like Blind Faith's "Can't Find My Way Home" if it was a more optimistic and happy song. "No Roots" is basically about how Alice is the type of person who doesn't stay in the same place for too long of a time. She can't find her way home. However, instead of despairing, she seems to take this as an opportunity to explore who she is and how she fits into society.
"Pain" by The War on Drugs: "Pain" is probably the first word that comes to mind for people who grow weary of the prog-rock and jam band influenced meanderings that The War on Drugs often take in their songs! There's a beauty in this pain, though. In this 5 and a half minute swirl of hypnotic, smooth, neo-psychedelic pop, Kurt Vile spills deep thoughts and turns them into lyrical poetry. "He had a fear in his eyes that I could not understand", "Am I movin' back in time? Just standin' still?", and "Like a demon in a doorway waiting to be born", are just some of the weighty, existential lyrics in this song, in which light acoustic guitars and keyboards are offset by fuzz drenched screeching electric guitars during the instrumental parts.
"This Is It" by Lo Moon: The chill yet mysterious aura of this song reminds me of something that new wave pioneers, Roxy Music, might have done on their "Avalon" album from 1982 (perhaps, more accurately, if it was crossed with the progressively atmospheric to anthemic vibe of Phil Collins' "In the Air Tonight" from only a year earlier than the Roxy Music album). This is the kind of song that leaves the listener in suspense. "This is it". WHAT is it?! The lead singer of Lo Moon never specifies this. Yet listeners of this song can't help but be drawn into it as well. The song starts off billowy and cloudy, only to wake up your ears as soon as the lead singer shouts the title of the song during its chorus.
Showing posts with label Sharon Jones and The Dap-Kings. Show all posts
Showing posts with label Sharon Jones and The Dap-Kings. Show all posts
Wednesday, October 18, 2017
Wednesday, August 10, 2016
New songs for August 10th, 2016
here they are:
"A Thousand Times" by Hamilton Leithauser: The Walkmen's lead singer sure has come a long way from where he started off! I never would have predicted that a band known for mixing surf and garage rock sounds during the 21st century would end up having a lead singer who was capable of making a song as romantic as this one! The old-time-y sounding piano and organs that dominate this song make it seem like it's from another time (that is, until the guitars come in towards the end). The message of the song is pretty simple. Leithauser has a dream that the one he desires the most was his "a thousand times". No matter how many times the message is repeated, though, (which it is quite a few times) it's still a very heartfelt sentiment, don't ya think?
"Comeback Kids" by The Jayhawks: Moving away from their more traditional country and folk influences, The Jayhawks have decided to have more of an "indie" sound in their latest song, "Comeback Kids". Here, Gary Louris and co join the ranks of fellow alt-country-cum-indie band, Wilco, in having a song that sounds like a cross between Big Star and Television, in which jangle-pop meets post-punk. Despite the rougher edges this song has in comparison to the 'Hawks other material, "Comeback Kids" is still sentimental in the lyrical sense. It is a song about reminiscing over a former girlfriend.
"I'm Still Here" by Sharon Jones and The Dap-Kings: Sharon Jones is definitely still here, that's for sure! In her latest song, "I'm Still Here", Sharon delivers a powerful blast of soul music as only she can! Drums, bass, sax, and of course, Jones' powerful vocals propel this song, which seems to be a tale of both survival and triumph. No other "neo-soul" artist sounds both so funky and so authentically 1960's as Sharon Jones does. The song switches between quieter verses and louder chorus sections, although "loud", in this case, is something celebratory and free of distortion.
"Love Is A Burden" by Jamestown Revival: The Beatles' "Don't Let Me Down" is a painfully obvious influence this song has, at least during the verses. On the plus side, though, the overall sound of "Love Is A Burden" is a step closer to a 2010's alt-rock-ish sound than the bluegrass-y Jamestown Revival previously had two years ago, so perhaps certain younger listeners might find this song to be an easier way to get into Jamestown Revival's music than "California (Cast Iron Soul)" was. Love may be a burden, but clearly nothing is stopping Jamestown Revival from using bright, catchy instrumentation to mask its lovelorn lyrics.
"Shut Up Kiss Me" by Angel Olsen: No, she is not the third Olsen twin (triplet?!) Far from it, really. Her music is like an unlikely cross between Tom Petty and PJ Harvey, and she's about as clear to understand vocally as either of them are (in other words, she's hard to understand). She sings "Shut up kiss me, hold me tight" so fast that you can barely tell what she's saying! At least it's somewhat easy to tell what it's about lyrically. It seems to be about an unrequited love of sorts, albeit as more of a defiant declaration of love than as a "no one understands me, I'm sad" statement.
"A Thousand Times" by Hamilton Leithauser: The Walkmen's lead singer sure has come a long way from where he started off! I never would have predicted that a band known for mixing surf and garage rock sounds during the 21st century would end up having a lead singer who was capable of making a song as romantic as this one! The old-time-y sounding piano and organs that dominate this song make it seem like it's from another time (that is, until the guitars come in towards the end). The message of the song is pretty simple. Leithauser has a dream that the one he desires the most was his "a thousand times". No matter how many times the message is repeated, though, (which it is quite a few times) it's still a very heartfelt sentiment, don't ya think?
"Comeback Kids" by The Jayhawks: Moving away from their more traditional country and folk influences, The Jayhawks have decided to have more of an "indie" sound in their latest song, "Comeback Kids". Here, Gary Louris and co join the ranks of fellow alt-country-cum-indie band, Wilco, in having a song that sounds like a cross between Big Star and Television, in which jangle-pop meets post-punk. Despite the rougher edges this song has in comparison to the 'Hawks other material, "Comeback Kids" is still sentimental in the lyrical sense. It is a song about reminiscing over a former girlfriend.
"I'm Still Here" by Sharon Jones and The Dap-Kings: Sharon Jones is definitely still here, that's for sure! In her latest song, "I'm Still Here", Sharon delivers a powerful blast of soul music as only she can! Drums, bass, sax, and of course, Jones' powerful vocals propel this song, which seems to be a tale of both survival and triumph. No other "neo-soul" artist sounds both so funky and so authentically 1960's as Sharon Jones does. The song switches between quieter verses and louder chorus sections, although "loud", in this case, is something celebratory and free of distortion.
"Love Is A Burden" by Jamestown Revival: The Beatles' "Don't Let Me Down" is a painfully obvious influence this song has, at least during the verses. On the plus side, though, the overall sound of "Love Is A Burden" is a step closer to a 2010's alt-rock-ish sound than the bluegrass-y Jamestown Revival previously had two years ago, so perhaps certain younger listeners might find this song to be an easier way to get into Jamestown Revival's music than "California (Cast Iron Soul)" was. Love may be a burden, but clearly nothing is stopping Jamestown Revival from using bright, catchy instrumentation to mask its lovelorn lyrics.
"Shut Up Kiss Me" by Angel Olsen: No, she is not the third Olsen twin (triplet?!) Far from it, really. Her music is like an unlikely cross between Tom Petty and PJ Harvey, and she's about as clear to understand vocally as either of them are (in other words, she's hard to understand). She sings "Shut up kiss me, hold me tight" so fast that you can barely tell what she's saying! At least it's somewhat easy to tell what it's about lyrically. It seems to be about an unrequited love of sorts, albeit as more of a defiant declaration of love than as a "no one understands me, I'm sad" statement.
Wednesday, January 8, 2014
New songs for the new year - part 1 - left over from 2013!!
Since I missed so much last time around, my first new blog will be a two-parter. So here goes:
“Hey Brother” by Avicii: Avicii made his name known in summer of last year with his “Mumford and Sons goes clubbin’” megahit, “Wake Me Up”. In his latest song, “Hey Brother”, the Mumford aspect is definitely still there. The “clubbin’” aspect? Well, not so much this time, until the end of the song, which is driven by a synthetic horn solo. Avicii’s pleas for love and peace in “Hey Brother” (“Do you still believe in one another?”) really resonate with me. “Deep” messages in his songs tend to be quite common, but it’s not any wonder when you consider that his stage name refers to an aspect of Buddhism.
“Kangaroo Court” by Capital Cities: And now, here’s another band who had a megahit last year with the super catchy alt-pop dance anthem, “Safe And Sound”. Capital Cities continue to get funky in their second big song, “Kangaroo Court”, perhaps even more than they did the first time around. The song shows a bit of an eccentric side to Capital Cities that wasn’t that apparent on “Safe And Sound”. First off, the title alone points it out (name one other song with the word “kangaroo” in the title!) The chorus (“Shut up, shut up, shut up, sit out, sit out, sit out, it’s a kangaroo court”) is odd, yet still memorable. It’s the music video for “Kangaroo Court” that really takes the cake, though!! Can’t get better than a bunch of weird people in animal costumes! The video can be viewed here: http://www.youtube.com/watch?v=CJinWua98NA
“Stranger to My Happiness” by Sharon Jones and The Dap-Kings: What better way to kick of a new year of blogging than with a sassy, funky blast of neo-soul that combines the Motown sound with the Stax Records sound?! This one actually came out in November 2013, but I haven’t been able to find a decent copy of the song until this year. Anyway, if you feel like you’re hearing a long lost duet between Aretha Franklin and The Temptations on “Stranger to My Happiness”, don’t be surprised. Sharon Jones and The Dap-Kings really know how to keep the sound of classic ‘60s soul alive for those of us growing up during the 21st century! Though the subject matter of “Stranger to My Happiness” might be a downer (which can be indicated just from the title of the song), the song itself is most definitely not!
“Thunder Clatter” by Wild Cub: Much like a lot of the other songs for this part of this week’s blog, “Thunder Clatter”, by electronic indie-pop group, Wild Cub, has certain elements of dance-pop to it. If someone told me four years ago when I started this blog that I would have a week where I reviewed songs that were danceable, I would have thought they were nuts, yet here I am, doing exactly that! I guess it’s an acquired taste. Perhaps what sets “Thunder Clatter” apart from other indie-dance-pop songs is that it seems to have certain elements of world music in terms of its rhythm, along with the expected Modest Mouse/MGMT type influences.
“Turn It Around” by Lucius: The “-us” ending of Lucius made me think this was a band fronted by a man, but its lead singer is actually a woman. Lucius’ “Turn It Around” seems to run halfway between the blithe, bubbly indie-pop sound of Boy (best known for “Little Numbers”), and the more sophisticated alt/dance-pop of musicians like Lorde. There is definitely a dance-pop aspect to “Turn It Around”, but it also has a bit of an “indie” sound to it at the same time. “Turn It Around” is for more than just the “hipster” crowd, though, with its tight percussion section (which uses both handclaps and tambourines, in perfect synchronicity with one another), and its simple, but earworm-y chorus (“She’s looking through the wrong end of the telescope, turn it around.”)
“Hey Brother” by Avicii: Avicii made his name known in summer of last year with his “Mumford and Sons goes clubbin’” megahit, “Wake Me Up”. In his latest song, “Hey Brother”, the Mumford aspect is definitely still there. The “clubbin’” aspect? Well, not so much this time, until the end of the song, which is driven by a synthetic horn solo. Avicii’s pleas for love and peace in “Hey Brother” (“Do you still believe in one another?”) really resonate with me. “Deep” messages in his songs tend to be quite common, but it’s not any wonder when you consider that his stage name refers to an aspect of Buddhism.
“Kangaroo Court” by Capital Cities: And now, here’s another band who had a megahit last year with the super catchy alt-pop dance anthem, “Safe And Sound”. Capital Cities continue to get funky in their second big song, “Kangaroo Court”, perhaps even more than they did the first time around. The song shows a bit of an eccentric side to Capital Cities that wasn’t that apparent on “Safe And Sound”. First off, the title alone points it out (name one other song with the word “kangaroo” in the title!) The chorus (“Shut up, shut up, shut up, sit out, sit out, sit out, it’s a kangaroo court”) is odd, yet still memorable. It’s the music video for “Kangaroo Court” that really takes the cake, though!! Can’t get better than a bunch of weird people in animal costumes! The video can be viewed here: http://www.youtube.com/watch?v=CJinWua98NA
“Stranger to My Happiness” by Sharon Jones and The Dap-Kings: What better way to kick of a new year of blogging than with a sassy, funky blast of neo-soul that combines the Motown sound with the Stax Records sound?! This one actually came out in November 2013, but I haven’t been able to find a decent copy of the song until this year. Anyway, if you feel like you’re hearing a long lost duet between Aretha Franklin and The Temptations on “Stranger to My Happiness”, don’t be surprised. Sharon Jones and The Dap-Kings really know how to keep the sound of classic ‘60s soul alive for those of us growing up during the 21st century! Though the subject matter of “Stranger to My Happiness” might be a downer (which can be indicated just from the title of the song), the song itself is most definitely not!
“Thunder Clatter” by Wild Cub: Much like a lot of the other songs for this part of this week’s blog, “Thunder Clatter”, by electronic indie-pop group, Wild Cub, has certain elements of dance-pop to it. If someone told me four years ago when I started this blog that I would have a week where I reviewed songs that were danceable, I would have thought they were nuts, yet here I am, doing exactly that! I guess it’s an acquired taste. Perhaps what sets “Thunder Clatter” apart from other indie-dance-pop songs is that it seems to have certain elements of world music in terms of its rhythm, along with the expected Modest Mouse/MGMT type influences.
“Turn It Around” by Lucius: The “-us” ending of Lucius made me think this was a band fronted by a man, but its lead singer is actually a woman. Lucius’ “Turn It Around” seems to run halfway between the blithe, bubbly indie-pop sound of Boy (best known for “Little Numbers”), and the more sophisticated alt/dance-pop of musicians like Lorde. There is definitely a dance-pop aspect to “Turn It Around”, but it also has a bit of an “indie” sound to it at the same time. “Turn It Around” is for more than just the “hipster” crowd, though, with its tight percussion section (which uses both handclaps and tambourines, in perfect synchronicity with one another), and its simple, but earworm-y chorus (“She’s looking through the wrong end of the telescope, turn it around.”)
Wednesday, April 21, 2010
new songs for Apr. 21st, 2010
here they are!!
"Crash Years" by The New Pornographers - Unlike the previous single from The New Pornographers' most recent album ("Your Hands Together"), this song is a bit more typical of the New Pornographers style. It's melodic, somewhat folk-rock and '60s pop influenced, and is also clever enough to pick up on musical "trends" indie rock songs have had, such as whistling (Don't believe me? Listen to Peter Bjorn and John's "Young Folks", Andrew Bird's "Fitz And the Dizzyspells", Edward Sharpe and The Magnetic Zeros' "Home", and The Black Keys' "Tighten Up" - they ALL have whistling!!) As an added bonus, indie rock songbird Neko Case takes the lead vocals here, giving "Crash Years" an almost Fleetwood Mac-y vibe (much like fellow indie band Rilo Kiley, whose lead singer Jenny Lewis also qualifies, to me, as a modern day Stevie Nicks - musically, not vocally). Like Fleetwood Mac, The New Pornographers consists of both male and female lead vocalists, and the female ones in both bands seem more distinct - they give the bands some flavor. If you prefer hearing more consistently melodic music coming from the New Pornographers (like I do), then give this one a listen!
"I Learned the Hard Way" by Sharon Jones and The Dap-Kings: Indie SOUL?! Though such a term hasn't been applied (at least to my knowledge) to any particular musician or band, it oughta!! Especially in the case of Sharon Jones and The Dap-Kings whom, despite their Aretha Franklin-ish sound, have received massive praise from both indie fans and indie publications (and some pretty major ones, at that)! Neo-soul is a term that has existed for quite awhile, and probably first became a household name with artists like Macy Gray, and shortly afterwards, Joss Stone. The trend continued in the mid-to-late-2000's with Amy Winehouse, Duffy, and Adele. However, there's something that all five of those musicians have had that Sharon Jones and The Dap-Kings haven't yet received - mainstream recognition. I hate to sound like a "music snob", but mainstream recognition for neo-soul musicians almost seems to be a kiss of death, making a once vibrant and unique sound seem more commonplace. Thankfully, Sharon Jones and The Dap-Kings are in no such position! The best thing about songs like "I Learned the Hard Way" is that they sound like they really ARE from the '60s - if I hadn't known better I would've thought this was a previously unreleased Aretha Franklin (or some similar artist) track!
"Junebug" by Robert Francis: This song has been out since November 2009, so why has it not gotten recognition by adult alt. stations until now?! This really boggles my mind, especially considering that this truly is a GREAT song!! I've always been a huge Ryan Adams fan, as well as a big Cranberries fan, and this song seems like a combination of the two. "Junebug" OOZES emotional quality of the finest sense, in a wistfully romantic and bittersweet way that still somehow manages to rock (which might explain the comparisons it's gotten by others to U2 and Springsteen). It's one of those songs that makes me "cry on the inside" so to speak, because it's just THAT beautiful and haunting. I think this is the best song I've reviewed for this week, so please check it out if you haven't done so already!!
"Laredo" by Band of Horses: The great thing about Band of Horses is the emotional quality (once again) that just oozes from songs like "Is There A Ghost?", "The Funeral", and (especially) "No One's Gonna Love You". All three of those songs seem to meld Velvet Underground-ish experimentation with "Pet Sounds"-era Beach Boys harmonies. "Laredo" is, well, a little different. It almost sounds like they're trying to be the indie rock version of Creedence Clearwater Revival in this song, so it's definitely not as good as the other three Band of Horses songs I know of. However, though the music might have changed a bit, the harmonies are still the same. Those harmonies just always tug at the heartstrings for me! And plus, BOH could be going for something worse than a CCR vibe (since there are plenty of things that are much worse than Creedence Clearwater Revival, who are a good band, but just not one that I would picture Band of Horses going after stylistically - and no, the lead singer of BOH does NOT sound a THING like John Fogerty on this track - I was referring specifically to the musical style here). Perhaps the other thing worth note about "Laredo" is that it still manages to get in an arpeggiated folk-rock-y guitar pattern a la The Byrds' "My Back Pages", which, it seems, is a surefire way to make a song likable in the indie rock world.
"Plundered My Soul" by The Rolling Stones - Those who are "true fans" of The Stones know that despite the "bad boy" image they cultivated throughout the '60s and '70s that they do have a softer side, be it the bittersweet folk-rock of "Angie" and "Wild Horses", or the heartfelt smooth R & B of "Time Waits For No One" and "Fool to Cry". The Stones continue to show their softer side (well, kind of) on "Plundered My Soul". Musically, it combines country, blues, and R & B like only The Stones can, making it seem like the one track they decided to leave off of "Exile On Main Street". Lyrically, however, "Plundered My Soul" is more along the lines of the sarcastic, cheeky mock-country of "Dead Flowers" than it is the sincere, soulful pop of "Waiting On A Friend" (particularly in the chorus, when Mick says "I f**ed your women for money, but you plundered my soul" - not exactly what I'd call "sincere"). Whether you like the harder or softer side of The Stones more, this should appeal to you if you're a fan of theirs even a little bit.
"Crash Years" by The New Pornographers - Unlike the previous single from The New Pornographers' most recent album ("Your Hands Together"), this song is a bit more typical of the New Pornographers style. It's melodic, somewhat folk-rock and '60s pop influenced, and is also clever enough to pick up on musical "trends" indie rock songs have had, such as whistling (Don't believe me? Listen to Peter Bjorn and John's "Young Folks", Andrew Bird's "Fitz And the Dizzyspells", Edward Sharpe and The Magnetic Zeros' "Home", and The Black Keys' "Tighten Up" - they ALL have whistling!!) As an added bonus, indie rock songbird Neko Case takes the lead vocals here, giving "Crash Years" an almost Fleetwood Mac-y vibe (much like fellow indie band Rilo Kiley, whose lead singer Jenny Lewis also qualifies, to me, as a modern day Stevie Nicks - musically, not vocally). Like Fleetwood Mac, The New Pornographers consists of both male and female lead vocalists, and the female ones in both bands seem more distinct - they give the bands some flavor. If you prefer hearing more consistently melodic music coming from the New Pornographers (like I do), then give this one a listen!
"I Learned the Hard Way" by Sharon Jones and The Dap-Kings: Indie SOUL?! Though such a term hasn't been applied (at least to my knowledge) to any particular musician or band, it oughta!! Especially in the case of Sharon Jones and The Dap-Kings whom, despite their Aretha Franklin-ish sound, have received massive praise from both indie fans and indie publications (and some pretty major ones, at that)! Neo-soul is a term that has existed for quite awhile, and probably first became a household name with artists like Macy Gray, and shortly afterwards, Joss Stone. The trend continued in the mid-to-late-2000's with Amy Winehouse, Duffy, and Adele. However, there's something that all five of those musicians have had that Sharon Jones and The Dap-Kings haven't yet received - mainstream recognition. I hate to sound like a "music snob", but mainstream recognition for neo-soul musicians almost seems to be a kiss of death, making a once vibrant and unique sound seem more commonplace. Thankfully, Sharon Jones and The Dap-Kings are in no such position! The best thing about songs like "I Learned the Hard Way" is that they sound like they really ARE from the '60s - if I hadn't known better I would've thought this was a previously unreleased Aretha Franklin (or some similar artist) track!
"Junebug" by Robert Francis: This song has been out since November 2009, so why has it not gotten recognition by adult alt. stations until now?! This really boggles my mind, especially considering that this truly is a GREAT song!! I've always been a huge Ryan Adams fan, as well as a big Cranberries fan, and this song seems like a combination of the two. "Junebug" OOZES emotional quality of the finest sense, in a wistfully romantic and bittersweet way that still somehow manages to rock (which might explain the comparisons it's gotten by others to U2 and Springsteen). It's one of those songs that makes me "cry on the inside" so to speak, because it's just THAT beautiful and haunting. I think this is the best song I've reviewed for this week, so please check it out if you haven't done so already!!
"Laredo" by Band of Horses: The great thing about Band of Horses is the emotional quality (once again) that just oozes from songs like "Is There A Ghost?", "The Funeral", and (especially) "No One's Gonna Love You". All three of those songs seem to meld Velvet Underground-ish experimentation with "Pet Sounds"-era Beach Boys harmonies. "Laredo" is, well, a little different. It almost sounds like they're trying to be the indie rock version of Creedence Clearwater Revival in this song, so it's definitely not as good as the other three Band of Horses songs I know of. However, though the music might have changed a bit, the harmonies are still the same. Those harmonies just always tug at the heartstrings for me! And plus, BOH could be going for something worse than a CCR vibe (since there are plenty of things that are much worse than Creedence Clearwater Revival, who are a good band, but just not one that I would picture Band of Horses going after stylistically - and no, the lead singer of BOH does NOT sound a THING like John Fogerty on this track - I was referring specifically to the musical style here). Perhaps the other thing worth note about "Laredo" is that it still manages to get in an arpeggiated folk-rock-y guitar pattern a la The Byrds' "My Back Pages", which, it seems, is a surefire way to make a song likable in the indie rock world.
"Plundered My Soul" by The Rolling Stones - Those who are "true fans" of The Stones know that despite the "bad boy" image they cultivated throughout the '60s and '70s that they do have a softer side, be it the bittersweet folk-rock of "Angie" and "Wild Horses", or the heartfelt smooth R & B of "Time Waits For No One" and "Fool to Cry". The Stones continue to show their softer side (well, kind of) on "Plundered My Soul". Musically, it combines country, blues, and R & B like only The Stones can, making it seem like the one track they decided to leave off of "Exile On Main Street". Lyrically, however, "Plundered My Soul" is more along the lines of the sarcastic, cheeky mock-country of "Dead Flowers" than it is the sincere, soulful pop of "Waiting On A Friend" (particularly in the chorus, when Mick says "I f**ed your women for money, but you plundered my soul" - not exactly what I'd call "sincere"). Whether you like the harder or softer side of The Stones more, this should appeal to you if you're a fan of theirs even a little bit.
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