New songs for May 19th, 2021

 here they are:


"Down" by St. Vincent: After her success on adult alt radio stations with the Prince/Bowie-esque "Pay Your Way in Pain," Annie "St. Vincent" Clark continues with work influenced by the two aforementioned eclectic electro-funk-rock masters. "Down" also showcases a Prince/Bowie influence, albeit with one factor that distinguishes it from all other St. Vincent songs that have come out so far. "Down" makes distinctive use of the sitar, as well as the Vocoder (the voicebox thingy Peter Frampton is known for using, which has gained prominent use in funk-rock as well). With all these unique, flavorful elements combined, "Down" sounds anything BUT down, and puts St. Vincent in a place that is too outer space-y to be the past, but too retro to be the future! Far out!

"Motorbike" by Leon Bridges: And speaking of funk music, Leon Bridges is another contemporary musician who has explored the influence of funk in his own sweet way. He started with a record that was a throwback to soul masters like Sam Cooke and Otis Redding, followed that up with a sophomore album exploring more sides of the R & B spectrum, including jazz, funk, and even folk-soul, and now, with a third album on the way, we get to hear Leon exploring...pop-reggae?! "Motorbike" seems to head in that direction, and it is also notable for being Leon's first guitar-less track (if there IS any guitar in it at all, it's barely audible). It's still soul music, as all of Leon's music has been so far, but something feels a little out of place about this one. For one thing, he has enlisted the help of fellow neo-soul musician, Anderson Paak, on this one, and I've never been particularly thrilled with Anderson's style the way I have with Leon's. 

"Worry With You" by Sleater-Kinney: It was only two years ago that the fiercely defiant alt-rock duo, Sleater-Kinney, last released an album. However, with the major changes that came afoot the year after, the sentiments expressed in some of their last songs, such as the passionate yet sexually desperate "Hurry on Home," already seem like the products of a bygone era! Their latest song, "Worry With You," could be thought of as a "sequel" of sorts to that song: still spiky, intense, and sexually driven, yet somewhat more subdued, both musically and lyrically, and with the acknowledgment that love life (and life in general) has become more difficult to manage within the space of just a few years. Here, they are not merely looking for someone to spend a naughty night in the nude with, but are instead seeking a more solid form of companionship with someone whom they can feel comfortable mulling over the future with while still trying to enjoy the sparse pleasures of the present. A slightly blues-y garage rock influence on this one, but as usual, this dynamic duo gives it their all! 

New songs for March 10th 2021

 here they are:

"Down in the Country" by Israel Nash: It's not the first time that folk-rock and funk have melded into one, but it is certainly a rare occasion that the two genres come together. Israel Nash is bringing the two together as one in his latest song, "Down to the Country," a song that's as slinky as it is mellow. The idea of this song has now been around for about a year, and the issues discussed within are still as relevant today as they were then. The world was just starting to fall into the grip of coronavirus at the time, and much of "Down in the Country" seems to pertain to that topic. The bigger issue in the song, though, is the economy, and more specifically, how a certain someone who led the country until recently (referred to in the song as the "Yankee man") caused its downfall, all of which are reflective of the "hard times" Israel references in the second verse of the song. 

"El Invento" by Jose Gonzalez: Do you speak-o El Spanish-o? Apparently, neo-folk-rock musician Jose Gonzalez does, judging by the title of this song. Actually, this is Jose's first song entirely in Spanish (actual Spanish, not mock-Spanish). Interestingly, though his name suggests Spanish ancestry, Jose was actually born in Sweden (albeit to Argentinian parents). So what, then, do the lyrics of this song mean when you translate them into English?! It is actually a deep meditation Jose has on the world around him when you really stop and contemplate the meaning of the lyrics. A song in which a dreamer asks about the universe and marvels its beauty. This song is really, to use a Spanish phrase that I know, una canción fantastica (a fantastic song)! ¡Gracias, Jose!

"Greatest Enemy" by The Strumbellas: No matter what song they do, The Strumbellas always seem to make quite a splash on alt and adult alt radio stations! Their latest song, "Greatest Enemy" is no exception to the rule. Their previous big hit, "Salvation", already seemed to be an attempt to emulate the sound of groups like Imagine Dragons. "Greatest Enemy" goes a step further and tries both to sound like Imagine Dragons and imitate their "life's a struggle, but I'm gonna make it" lyrical style. One can't help but wonder if the lead singer of The Strumbellas really feels like he is his greatest enemy, or if this is just a way to cash in on the emotional trials and tribulations typically faced by millennials. If the latter, then "Greatest Enemy" is its own greatest enemy! Catchy song, though, nonetheless.


"Hey Lou" by Liz Phair: Perhaps I'm not the only one who has thought to himself, "What if Lou Reed was a guest star on Sesame Street?" Apparently, '90s alt-pop diva, Liz Phair, had similar thoughts in the video for her latest song, "Hey Lou," which features the legendary Velvet Underground singer, musician Laurie Anderson (to whom he was married during the last few years of his life), and even Andy Warhol as puppets! Who'da thunk?! The charmingly quirky video, almost as avant-garde as (but much more goofy than) The Velvet Underground itself, can be viewed here: https://www.youtube.com/watch?v=K4LcFHMjH9k Liz's own music can typically be described as Lou Reed meets Joni Mitchell, so she obviously has had huge admiration for the man who was perhaps the world's first known alt-rocker for a very long time. The song seems to be Laurie Anderson (from Liz's point of view) trying to speak to Lou Reed, sympathize with him, and talk sense into him. And here I thought the appearance of Jefferson Airplane's lead singer on animations featured on actual episodes of Sesame Street during its early days were weird! Ha!! This, if it actually were to happen on there, would be TWICE as unexpected. Leave it to Liz to mix a TV fave from childhood with a musical fave from my teens and onward! 

"How Low Can You Go?" by LP: She was optimistic and freewheeling on her debut single, "Into the Wild." A few years later, she got more bittersweet and pensive on "Lost on You." As we enter the 2020's, a cynical decade so far, LP has become cynical along with it in "How Low Can You Go?" though without losing the indie-folk flair that made her a hit among her loyal listeners. The keyword in the title of this song is the word "low." A vital line in the song appears towards the end of it: "The days catch fire like gasoline. Tell me, what's the worst that you've seen?" The song appears to be on the surface about a relationship LP regretted, and is also notable for being the first song in her catalog I've heard where she swears (not once, but twice). Perhaps underneath it all, though, LP is venting her rage and frustration at the world, which has gotten pretty "low" itself lately. A scathing song disguised by a folk-y melody? Seems like that's becoming more and more typical as time goes on, for some reason.

"Pay Your Way in Pain" by St. Vincent: Last, but certainly not least, the remarkably talented St. Vincent gives us what is perhaps this week's most anticipated new song with "Pay Your Way in Pain." Musically, the song pays homage to two of rock's somewhat recently fallen heroes, David Bowie and Prince. It has a funky, progressive vibe that wouldn't sound out of character at all for either artist, and St. Vincent's repeated refrain of "pain" sounds an awful lot like Bowie's refrain of "fame" from the song "Fame." The song opens on a piano riff, but that sound is quickly left behind as soon as the rest of the song unfolds. This song almost seems like the left-of-center answer to Lady Gaga in some ways, an image which St. Vincent has cultivated somewhat already, but never as she has on this tune!  

new songs for July 11th 2018

here they are:


"Salvation" by Tash Sultana: I don't know much about Tash Sultana, but the chorus of her latest song, "Salvation", pretty much tells all about who she is and what her music is like. "I guess I'm just changing with the wind/Turning in a different direction again and again", Sultana smoothly croons over a chilled out electro-pop musical landscape. True to its what its title would suggest, "Salvation" offers just that. It's a very dreamy tune that invites listeners to take a much needed break from their long, hard days. The song has an interesting twist towards the end, as a guitar solo slinkily makes its way into the song, first with a smooth, jazzy sound, and eventually building up to a more distorted rock sound that fits in surprisingly with the rest of the song.


"Wouldn't Want to Be Like You" by Sheryl Crow and St. Vincent: Sheryl Crow was known in the '90s for her insouciant pop/rock, slightly reminiscent of the lighter side of classic rock, like The Eagles, Fleetwood Mac, and Jackson Browne. Her first two albums were a breath of fresh air for people who wanted a break from the sullen, grungy sound of most '90s rock. She seemed to struggle to stay relevant to the rock scene ever since then, becoming more of an adult contemporary pop musician at the dawn of the new millennium. So who in the world would have thought she'd have a song that was an Arctic Monkeys soundalike?! I sure wouldn't have! Yet here she is, nearly two decades after her eponymous album from 1996, doing exactly that! "Wouldn't Want to Be Like You" sounds a little like Arctic Monkeys' "Why'd You Only Call Me When You're High?" with a guitar that sounds like it came from a St. Vincent song (fitting, since she's a guest on this song). If you told me 20 years ago that Sheryl Crow was going to have an edgy electro-pop song that was worth hearing, I would have looked at you like you had bugs crawling out of your ears. The times sure are changing!

New songs for September 20th, 2017

here they are:


"Around the World" by Kings of Leon: Sometimes, the best thing a song can do for you is make you feel good. That seems to be exactly what the aim of Kings of Leon's latest song, "Around the World", is. There's nothing really "deep" about this song, but there doesn't need to be. Both the sound and lyrics of this song just seem to be about having fun. So go ahead. Spread your love around the world!


"If All I Was Was Black" by Mavis Staples: Clearly, Mavis Staples is far more than an American woman of African descent. First and foremost, she is a musician, a legend of the soul genre who also mixed in the occasional blues and gospel influences whose popularity peaked in the '60s and '70s. She's two years shy of 80 now, but she can still belt it out just as great as ever! In this funky blues-y number, Mavis points out another thing that unites her with the human race, and that is love. After attacking the current president in "I Give You Power" earlier this year, perhaps she felt she needed a positive song to balance things out. If that's the case, this song definitely does the trick!


"Los Ageless" by St. Vincent: The exquisite, Tori Amos-sounding ballad, "New York", from earlier this year, was a bit of a departure in sound for St. Vincent. "Los Ageless", the latest song from the artist also known as Annie Clark, is a return to the more quirky, Bjork-ish songs that St. Vincent has become known for. And yes, "Los Ageless" is not a typo. It is a scathing way of describing the place which just happens to be my hometown (Don't worry, Annie, all is forgiven!) It is interesting how St. Vincent has romanticized New York and trashed Los Angeles on the same album! "Los Ageless", according to St. Vincent, is a harsh and unforgiving city where "mothers milk their young" and where people are bound to lose their minds. The song comes off as a slightly more venomous version of Depeche Mode's "Policy of Truth" in terms of how it sounds. As for St. Vincent's criticism of L.A.? I think I'm gonna have to side with Randy Newman, who declared that he "loved" the city in one of his biggest hits (though it was probably a tongue-in-cheek declaration). Everyone's entitled to their opinion, though, and I have always wanted to visit New York.


"O Me O My" by Son Little: Interesting how both of the even numbered songs in this edition of my blog (Mavis Staples' song was # 2, and this one is fourth) are R & B styled tunes. The slinky, seductive sound of this song hearkens back to Son Little's first big song, "The River". "O Me O My" is less blues-rock and more straight up retro R & B, with its funky guitar sound being used mainly for rhythm here. The minor key of the song is reflective of its rather dystopian theme. Apparently, it's about the stress people face in contemporary society. Specifically, Son Little contemplates on the idea of people someday colonizing Mars, and how that might not be such a good idea. Deep soul with deep thoughts! Does it get any better than this?!

New songs for the day after the 4th of July, 2017

here they are:


"New York" by St. Vincent: You never quite know what to expect with Annie Clark, better known as St. Vincent. A lot of her songs sound like a cross between Bjork and Prince, but there are also other kinds of St. Vincent songs and albums, such as her album, "Love This Giant", with new wave legend David Byrne, and songs whose questionable subject matter and titles are set off by their soothing sound, like "Laughing With A Mouth of Blood". Since I had only really come to know St. Vincent once she released her 2011 breakthrough song, "Cruel", I feel like I might have been missing out on some of the songs she did before. That being said, she probably has done sensitive ballads before, but "New York" is one of the only ballads I have heard of hers so far, and the only one on which piano is the sole accompanying instrument. "New York" is a rather mournful song, in which Annie pines that she "has lost a hero" and "has lost a friend". Not sure if she is bemoaning the loss of a person or the "loss" (artistically speaking, I guess) of New York itself, but either way, it's nice to hear yet another facet of the ever so fascinating St. Vincent catalog!


"Skin" by Rag N Bone Man: Hot on the strength of his surprise fall 2016 hit, "Human", Rag N Bone Man is now poised to put out a second hit song with "Skin". His music once again defies racial and musical boundaries in a creation that is all his own. An icy, bittersweet mix of R & B, electronica, and rock, "Skin" is a very vulnerable song, much like its predecessor, "Human". Its lyrics are a rumination on RNBM's future state, and how he will continue thinking about the object of his affections even when he grows old. Few lyrics in modern music are as heartfelt and open as, "Helpless I surrender, shackled to your love".

New songs for January 15th, 2014

here they are:


"Bad Blood" by Bastille: In an ever growing revolution of indie-pop bands that fall between electronica and rock, Bastille joined their ranks in summer 2013 with their smash hit, "Pompeii". Their latest song, "Bad Blood", also has an electro-pop/rock sound, but its minor key sound makes it considerably darker than "Pompeii", which was written in major key. One thing that both songs have in common is that they are both about the downsides of adolescence. "Pompeii" is about disillusionment, while "Bad Blood" seems to be about losing a friend. Sometimes, to get through the darkest of times, you gotta sing about 'em too, right?!


"Digital Witness" by St. Vincent: "And you may find yourself...listening to a song by St. Vincent!!" St. Vincent's first big breakthrough might have been with the enigmatic, Bjork-ish "Cruel", but it was her project with David Byrne that seemed to really bring St. Vincent (a.k.a. Annie Clark) into the limelight with many people (including Stephen Colbert!) St. Vincent's latest song, "Digital Witness", seems to have that fun, quirky blast of electronica-meets-funk-meets-jazz-meets-rock sound that Byrne typically has, both with and without Talking Heads, so perhaps Byrne's influence rubbed off on Ms. Clark!! St. Vincent is also just as enjoyably mysterious as ever in the lyrics of "Digital Witness", with one lyrical phrase asking, "What's the point of doing anything?", and another demanding to "give (her) all of your mind"!


"Girl You Look Amazing" by Nicole Atkins: "Girl, you SOUND amazing" is more like it (though Nicole certainly looks amazing too)!! Nicole's seemingly effortless combination of disco and indie-pop really shines through on this song just as it did on her debut from 5 years ago. The song also offers an empowering message to women everywhere to have a good, healthy sense of self-esteem. It's funny I mentioned David Byrne in my previous review for this week, because the inspiration behind "Girl You Look Amazing" was (guess who?!) David Byrne!! Apparently, Nicole had a dream where the Talking Heads frontman was singing a song called "Girl You Look Amazing" at a discotheque, and she just snatched the song out of her dream and into reality!!


"Say It, Just Say It" by The Mowgli's: Is there anything The Mowgli's can't do to win people over with their charming, fun, friendly music?! Between this song and their springtime megahit, "San Francisco", I would say that the answer to that question is "no" - there's nothing these guys can't do to make me and thousands of others break into a big grin!! "Say It, Just Say It" is a love song, pure and simple, but its bouncy melody and infectious harmonies seem to make it more than that! And then there's that cute little claymation video that would melt Gumby's big green heart just watching it!! The video for the song can be viewed here: www.youtube.com/watch?v=FRn8Sl6-sRo

New songs for June 20th, 2012

here they are:


"Anna Sun" by Walk the Moon: Anna SUN by Walk the MOON?! Did they title this song the way they did on purpose?! Well, anyway, "Anna Sun" is one of those songs that took a little while to catch up to the adult alt airwaves, but after about 3 months or so of being on regular alternative stations, "Anna Sun" has finally made an impact on adult alternative stations. It is a catchy song with melodic vocals. Never have lyrics like "this house is falling apart" sounded so infectiously vibrant! I recall that I heard the chorus to the song somewhere long before I reviewed it, so perhaps it was on a commercial somewhere. Not sure who exactly "Anna Sun" is, but the title of the song fits its mood. It's a very sunny, danceable song, and it's arrived (for me, at least) just in time for summer!!


"Give It Away" by Andrew Bird: Not to be confused for the Red Hot Chili Peppers song of the same name. This is, after all, a song from the quirky, orchestral indie-pop musician Andrew Bird, not a rock 'n' roll anthem good for parties. After the angst-ridden, orchestra-less "Eyeoneye" from earlier this year, it's nice to hear Andrew Bird get back to his classical-meets-folk-meets-rock sound he's known for on "Give It Away". There's a neat little twist to this song that makes it sound almost like a "Pet Sounds"-era Beach Boys song, though. The chorus of the song is fast and bouncy, where as the verses are more subtle and slower. Almost like the typical Moody Blues song, only here, the electric guitars and classical string instruments seem to "converse" with each other, instead of leaving one instrument section for one part of the song, and the other section for another part.


"Who" by David Byrne and St. Vincent: "Who?" "Who", indeed!! You could say that, together, the Talking Heads frontman and indie-pop-ster St. Vincent make the "Laurie Anderson connection". Byrne seemed to influence Laurie (the avant-pop musician best known for her charmingly odd song, "O Superman"), and St. Vincent seems to be influenced BY her. "Who" seems to be much more of a David Byrne song than a St. Vincent one, though, in which jazzy saxophones mingle with more contemporary, electronic sounding instruments. If this track were more St. Vincent-focused, it would probably be a lot more moody and/or ethereal sounding than this song. Pretty much the entire song is a series of questions, beginning with "Who will be my Valentine?", and ending with "Who is going to be my friend?", with the questions in the song getting increasingly more interesting towards the middle of it. Your question is "Who?", the answer is "People who are awesome!!"

7 MORE songs?!?!? WHAAA....?!?!

That's right!!! 7 MORE songs!! Perfect way to start the month of September! Here they are:

"Black Spartacus Heart Attack Machine" by The Nightwatchman (a.k.a. Tom Morello, ex-Rage Against the Machine member): Would you have expected the guitarist of '90s hard rock group Rage Against the Machine to have suddenly reinvented himself as a Dylan-esque folk singer?! Probably not many of you would have, but around the mid 2000's he did so, and he did a mighty fine job at it too! The latest from Morello, "Black Spartacus Heart Attack Machine" seems like where ends would meet for him, musically. While acoustic guitar and harmonica both play a central role in "Black Spartacus Heart Attack Machine", the fast pace of the percussion makes it sound more like a rock song, and the chorus (just the song's title, really) is "sung-spoken" in an aggressive fashion more typical of a Rage song than a Dylan song. Hope to hear more of Morello channeling his inner Dylan sometime soon, he really does an excellent job at it!

"Bright Lights" by Gary Clark Jr.: Amazingly, there are three songs from blues musicians that are being reviewed this week, and this one is first in line! This song, Gary Clark Jr.'s ode to New York City (as he states in the opening line, "Woke up in New York City"), sounds more like it belongs in the 1970's than it does to the 21st century, with its flashy guitar solos and its propulsive boogie beat! Somehow, though, whoever produced this song made it sound polished enough that it sounds recent, in spite of the instrumental techniques used in this song. At 5 minutes and 13 seconds, the length of the song also seems more suited to classic rock than it does to modern/alt rock. Ultimately, though, it's songs like this one that make music all the more worth listening to in the 21st century, and it's also proof that rock 'n' roll is not "dead", despite what some people might think.

"Cruel" by St. Vincent: So how exactly does one classify a song like "Cruel"?! Electro-disco-classical-post-punk-hard-rock?!? Somehow, it kinda sounds like that. Aside from incorporating influences from multiple genres, "Cruel" also manages to evoke multiple emotions. The overall tone of the song is dark, yet the lead singer has very melodic (but sometimes desperate) vocals, and it's also a song that makes me want to dance AND play air guitar at the same time!! Yet I don't know if I'd feel entirely comfortable dancing to a song that's so ominous sounding, and also what is a rock 'n' roll guitar solo doing in a song that's supposed to be disco inflected...with post-punk creepiness?! There doesn't seem to be an easy way to define this song, but sometimes those are the best kinds of songs!!

"If I Had A Gun" by Noel Gallagher's High Flying Birds: Oasis might not be as big as they once were in the '90s, but WOW, the members are definitely still active!! Around February of this year, the band Beady Eye (featuring Liam Gallagher from Oasis on lead vocals) came out and released a fun, jaunty Beatlesque tune called "The Roller". Now it's the other Oasis brother, Noel Gallagher's turn in the spotlight. "If I Had A Gun" provides an introspective, poignant contrast to the bouncy, pop-y aspects of "The Roller". In some ways "If I Had A Gun" almost sounds like a "sequel" to Oasis' biggest hit, "Wonderwall", as both songs are slow, sweet sounding, prolific, and even in the same key (F sharp minor, though "Wonderwall" was capoed). It's unfair, though, to dismiss "If I Had A Gun" as a "ripoff" of "Wonderwall", since it is a song that takes on beautiful, reflective qualities of its own!

"Love the Way You Walk Away" by Blitzen Trapper: Though I only know three songs (including this one) by Blitzen Trapper, I love pretty much everything they have released so far! Much like Fleet Foxes, Mumford and Sons, and The Decemberists (all of whom Blitzen Trapper have probably been compared to by now), Blitzen Trapper are a bittersweet sounding neo-folk-rock band that have made a name for themselves among indie rock fans (including me)! That being said, I was looking forward to hearing what their latest song, "Love the Way You Walk Away" was going to sound like. Its sound seems kind of country-folk influenced, in a very laid-back, "traveling back home on the highway" kind of way. Though I was expecting it to have more of a Donovan-esque "psych-folk" sound the way other Blitzen Trapper songs (especially "Dragon's Song") typically do, "Love the Way You Walk Away" does have a very earnest, heartfelt sort of sound. This one (and probably the Noel Gallagher song as well) are my fave releases of the week so far!!

"River's Gonna Rise" by Warren Haynes: Like his song released earlier this year, "Man In Motion", the part-time Allman Brothers and Gov't Mule guitarist lays down some mean blues licks once again on his latest effort, "River's Gonna Rise". Unlike the frenzied, enthusiastic guitar playing "Man In Motion" boasted, "River's Gonna Rise" is a bit of a calmer song. This does not mean Warren doesn't show off his chops on his axe, though, he most certainly does. However, the feel of this song is a bit more earthy like B.B. King, and not so much a "guitar hero" Eric Clapton type sound. Somehow, the title alone seemed to indicate to me that this would be a calmer song, as this song uses the word "river" in the title, and that's what rivers usually are.

"T-Bone Shuffle" by Johnny Winter: It's quite amazing to me that three of the songs I've reviewed this week are blues songs. "T-Bone Shuffle", however, is by far the blues-iest of the three!! No complex emotions or "deep" lyrics in this song, and no weird chords or odd song structure either, just your basic 12 bar blues. As much as the gentle, poignant, bittersweet songs I review have become close to my heart, sometimes it's fun to just play the blues! It's great to listen to, and fun to dance to. No song I've reviewed so far has come as close to reviving the spirit of the blues as "T-Bone Shuffle" has, with its feel-good, toe-tappin', guitar blastin' sound!!