Delta Rae returns with a new single, “Run,” off the band’s latest EP Chasing Twisters, and we’re here to preview the song which is this week’s iTunes “Free Song of the Week” feature. In addition, we’ll introduce you to Midnite on Pearl Beach, a Chicago band blending elements of psychedelic, folk, rock and blues to create a sound you’ll have to soak in to believe. We feature a clip of single “One Foot Left,” in addition to the entirety of album track “Modern Gods,” off their upcoming album Lamplighter — get it on January 14th!
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Welcome to The “Hear! Hear!” and Now Podcast, a twice-weekly showcase for new music which will feature reviews of singles and albums from across the pop spectrum. Check back Tuesdays and Fridays at “Hear! Hear!” or subscribe to our podcast via Feedburner or iTunes (coming soon) In the future this podcast may expand to include commentary as well as site exclusives, including full-album listens. But I want to expand this in ways which will excite you as listeners and discoverers of new music. So feel free to email me at any time, if you have suggestions for improving the podcast or ideas regarding bands you feel should be showcased.
The first band profiled here is Alive Way, a Lithuanian rock band already having built a name for itself overseas, both while touring festivals there and while competing (twice) for the Eurovision prize. Their new EP Footprints in the Snow blends the traditional holiday album with their own take on pop rock, making these songs worthy of radio play regardless of the season. You can hear more from the band at http://www.aliveway.net.
Pour some sugar on it, Hysteria‘s done, now that we get the chance to hear the result of Def Leppard’s Las Vegas residency, during which they played the classic album in its entirety plus other band favorites, rarities, etc. If you’ve heard the album itself a thousand times, there may not seem to be much here you haven’t already experienced, but there’s something to be said for a band still out there killing it live on a regular basis. What wins out isn’t that they wrote such classic rock cuts in the first place. It’s that they can still make it sound easy two and a half decades later.
These songs sound as fresh now as they did back in 1987, soaked in the production gloss of “Mutt” Lange a decade before Shania “country”-fied his signature sound. All the hits are of course here on the first disc, in addition to a full disc of “opening set” performances from the band as Ded Flatbird, playing such classics as “Good Morning Freedom” and “Another Hit and Run.” The band had never played Hysteria straight through, so there’s that to consider, but this live capsule succeeds more on the sheer number of great songs you’ll hear. Few bands from the eighties had this much fun with such abundant success, and even if it’s just for the pure nostalgia, it’s hard to find much wrong with this dose of live Leppard.
Great name for chicks
I know a jealous sapphire
And an amethyst
And if she’s a square
I can work with her
But I prefer my joints to be circular
This one’s not to be taken too seriously, but damned if it won’t stick in your head, the ultimate pop-hop throwback. All you need’s a phat beat, some shiny beads, plenty of Snoop Dogg-sized blunts and you’re ready for what Chris Clarke brings to the table. “Every time you see me I got some fresh-assed clothes and some beads. And some weed,” he raps early on, before seriously breaking it all down for us: “I got rare beads, prayer beads, square beads and player beads.”
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Australian hip-hopper Dialekt has a lot going for him, particularly on his solid single “Fortress.” First off there’s the hook, which echoes but doesn’t carbon-copy the piano-tinged flair of “Love The Way You Lie” by Eminem and Rihanna. Then there’s the chorus, sung ably by Xy Latu, which is as memorable as anything you’ll hear from Mikky Ekko or Gotye, a perfect ear-worm which does as much to demand repeat plays as does Dialekt’s rapping. That’s the clincher, though, is that this kid has serious flow. At first I wasn’t convinced — the first verse sounded a bit too much like B.o.B.’s work on “Airplanes” — but when he really gets going during the second verse, it is immediately clear there’s more here in the vein of Macklemore than anything else in pop-versed hip-hop.
No guarantee he’ll hook our ears with anything else, but “Fortress” is a solid first swing toward the fences. I could hear this song getting plenty of top 40 radio-play, and the video’s professionally produced, with a distinctive look. Start it at the two-minute mark if you’re not interested in the pseudo-story presented by the video, which in the end is just a chance to get Dialekt to light a few giant flares and let a helicopter spread color around him as he raps. What matters is that the quality of the song speaks for itself. This is everything pop programmers salivate over. Will it be enough to break Dialekt here in America? I’m going to bet yes.
For those among us who lament the cookie-cutter direction folk-tinged Americana has taken in the current decade’s “pop folk” era — that of the Lumineers or Mumford’s Babel – you may now rejoice in that which is The Muse. The fourth album from Boulder’s the Wood Brothers revels in everything blues, jazz, gospel and, yes, folk. The opener, “Wastin’ My Mind,” will stun fans of the Band who are likely to marvel that this song wasn’t produced forty years ago, and from there it’s a great ride through track after track of genre-bending songs which prove to be more than folk revivalism or obsessive attempts at recreation.
Any album with the one-two-three punch of “Wastin’ My Mind,” “Neon Tombstone” and “Sing About It” is already worth a listen. But the album’s boozy, horn-soaked finale “Firewater” wins the day, that slow-burn melancholy certain to fuel many a full-album restart or furious clicks to repeat the track itself. The rest of the album more than lives up to the gauntlet the band has thrown down, proof that there’s still room in today’s musical landscape for albums which challenge the listener. With three months to go, the Wood Brothers have produced this year’s best Americana album by far.
“I’M YOUR 911!” — Mumiy Troll’s “Swimming With Sharks” expands band’s hook-filled legacy, strongest English-language single yet
Read the “Hear! Hear!” interview with Ilya Lagutenko from last May.
It is fitting that Mumiy Troll’s latest single, “Swimming With Sharks,” builds its hook upon a surf-rock infused bass melody and a hook which catches you off guard with its insistent groove. Ilya Lagutenko’s giddy sense of pop-rock fun is catchy and makes this one of the band’s strongest singles yet, and their best by far in the English language. The video itself is pitch-perfect, proof of the band’s talent as Russia’s greatest pop export and more than enough reason to check them out if you’ve yet to take the plunge. Swimming with these sharks is all the more dangerous because there’s blood in the water, but what fun is there in always playing it safe?
Keep an eye out for the band’s 11th full-length, which they’re recording in English and Russian in between dates on their relentless touring schedule.
ALL YOU EVER DID WAS WRECK ME: Miley Cyrus’ “Wrecking Ball” as an examination of teenage hypersexuality
So, in the wake of the VMAs and Miley Cyrus’s unfortunate Twitter-bait bomb which was Twerking It 2013, you think she’s undeserving of any pop respect. And on first glance the video for “Wrecking Ball” stands to reiterate that. But give it a second look / listen. What, I have to wonder, is wrong with a teen sensation growing up and taking creative and artistic risks, even if it means perhaps alienating her from today’s crop of tween pop followers? Bear in mind Cyrus came to instant fame years ago and has aged alongside her audience — is there not room for a young woman to make her own moves in a male-dominated industry?
Here Miley pushes to take control of her own body, claiming her sexuality as her own as a backdrop to a song which, lyrically, crushes her beneath the memories of a relationship left in ruin. And while you may object to the video’s seemingly casual nudity and the often awkward sexual juxtapositions as Miley sings of taking to love like a wrecking ball only to be wrecked by the very love she so desires, bear in mind — she doesn’t owe you anything. Beyond giving pop fans a hook-filled melody, which this song does repeatedly and with gusto, her job as an artist in this pop era is to produce hits. And “Wrecking Ball” is a hit to anyone with ears. Whether her personal life is a mess, or her decisions as a young woman violate your personal sense of “shame,” I say resoundingly: “So what?” In that case she’s probably not singing this song in your direction anyway.
All that should and does matter is the song itself. Imagine getting this single sent to your inbox without a name attached, without the baggage of the video, and listen. Better yet, load the video and then turn your screen off, then press play.
Walk around the room and listen to that plaintive opening verse, a hook unto itself. Then the chorus hits, taking the song from plaintive pop to full-on anthem. “I came in like a wrecking ball / I never hit so hard in love / all I wanted was to break your walls / all you ever did was wre-eh-ehck me! You wre-eh-ehck me!” This is everything Lady Gaga still wishes she could put out there, every inch of what Katy Perry’s “Roar” can’t reach.
Love really is war, and when you lose you spend so much wasted time blaming yourself for the failings, to the point of self-destruction. That’s where the twisted sexual imagery of the video comes to bear. Yes it’s disjointed, creepy, desperate and disturbing, but it’s a view into what many of our young teenage women grow up thinking they have to do to win in love. Robin Thicke can put out a song like “Blurred Lines” which all but endorses the “I can treat you like an object because deep down you really like it” mentality, and yet we publicly scorn only the women who take part in the video, not the men who take credit for the song itself. Miley is a slut for twerking it onstage while Robin Thick plays the role of R&B referree.
And when our sisters, our daughters, fall in love and have their hearts broken, they’re left reeling, wondering what they didn’t do that could have kept the man in their life from wrecking them. Far from glorifying young women and open sexuality, as the Guardian obliquely opines, the video implies the opposite. The whole world tells me I should be this way, how could I be the only one who’s wrong?
I never meant to start a war
I just wanted you to let me in
And instead of using force
I guess I should have let you win
What message do we send when we trash the messenger — in this case an overly sexualized music video — when the message within is that in a world where everything’s hyper-sexualized, it’s okay coming from a man but when a woman claims even a touch of that sexual power, it’s off limits? I’m sure Miley Cyrus isn’t worried too deeply about this debate as she pushes “Wrecking Ball” toward what’s almost certain to be mega-hit status. But while she didn’t write the song, she uses the video to hint at the pain and hurt which lies below both the lyrics and the nudity in her video.
All of which warrants a second listen if you’ve chosen already to write the song off as meaningless … or worse, mere filth.
LET ME SHOW YOU WHAT A HERO DOES: DNA’s “Stonewall Jackson” breathes life into pop music with epic mythmaking
Saw these guys in Tell City, Indiana during their Schweitzer Fest performance the night before they laid down this spectacular live version of “Stonewall Jackson” at a show in Illinois. I had never heard the band prior to seeing their exceptional live show, yet I was singing along with this one instantly, the kind of thing which heralds a hit hands-down.
“Make ‘Stonewall Jackson’ the single and make station managers play it at knife-point,” I wrote in a quick email to the band after the set. “They’ll thank you for it later.” A month later I still agree. From the slow-burn guitar and keyboards opening to the frenzied chorus, the song’s got everything you need for a repeatable, ear-catching hook. And the rest of their songs fully live up to the hype, as fully laid bare on the band’s debut full-length Plenty of Thoughts.
There’s definitely plenty of room in the pop scene for a group of guys from St. Louis who have this much songwriting sense and the willingness to get out there and build a fan-base from the ground up. If you haven’t heard DNA, give the songa listen and then head over to their Facebook page. Then sit back and let your ears thank you.
Though many of us could be forgiven for not knowing Jonny Lang still had a recording presence, he returns today after a seven year absence with Fight For My Soul, which contains a surprisingly catchy first single — “Blew Up (The House)”, which features a man saving his soul by burning down all vestiges of his prior life “just to watch it burn down.” The song features as crunchy a groove as the young bluesman has yet produced, coupled with a Greek chorus of vocals which reminds this critic of Star Turtle-era Harry Connick Jr.
Rest assured, once you hear this song, you won’t forget it easily. And you’ll be likely to want to seek out the remainder of Fight For My Soul, which looks to be the musical maturation of a man who’s spent half his life reveling in all things blues. If you wondered, when hearing Lie To Me back in ’96, just how good this kid would sound like with some experience under his belt, the new material quickly, assuredly answers: “pretty damned good!”
For the tour-minded among you, Lang can be spotted in Minneapolis on September 18th, to be followed by a series of shows in the Midwest and along the east coast, before he hits Europe in October.
I remember September 11, 2001 starting out just like any other day. I’d overslept, just like on most days, so I’d taken a rushed shower and was trying to catch up on the news while toweling off, before I’d take my 1.5-mile trek across IU’s campus to class. I had CNN on mute, but recognized the World Trade Center with smoke coming from the tower. Mute was quickly removed as I saw footage of the second plane hitting, and I immediately had to call my mother to see if she was watching.
An hour later I sat in the front row of my massive Criminology lecture, crying openly along with my classmates as we watched developments on the classroom’s gigantic video screen. None of us knew how to process this, developments seeming so far away on a sunny September morning, yet still right there on top of us nonetheless. I recall stumbling through the rest of my classes that morning (including Calculus, wherein the heartless teacher made us continue working even as one girl nearly had a breakdown — her father was a NYC fireman) wondering just what our world was coming to.
I couldn’t continue to watch the news and become numb to developments. I saw that happening to friends of mine in the dorms, watching the news with their red eyes, jaws clenched, minds reeling. I had to get out and walk. I walked that afternoon to the local record store, where several like-minded students browsed the aisles with equally impenetrable stares. We had to find something we could listen to which would pull us out of the mess current events had sucked us into. I recall picking up a copy of Ben Folds’ Rocking The Suburbs, an album I’d already pilfered via Napster, as well as one by a band I’d never heard, Jimmy Eat World.
Bleed American, the title read.
Months later that album would simply be Jimmy Eat World, since the band feared people weren’t understanding that the title was not an attack on America but rather a claim of ownership. We, as Americans, needed to take on that identity and bleed American through and through, celebrating our lives in all their craziness and absurdity. “I’m not alone, ’cause the TV’s on …” the album opened, before encouraging us to clear our thoughts with Speyside, something I wished fervently at the moment that I could do. Forget what was happening now and just let music take over. Even for a few minutes.
I caught a lot of flack in the coming weeks from students who thought I wasn’t taking the events of September 11th seriously. I was among the vocal few on campus encouraging people to fight the terrorists by getting back into our routines, bleeding American in the best way we could at the time, by simply living our lives and telling the terrorists we wouldn’t be destroyed by them. I caught grief for protesting against the “banned songs” list Clear Channel put forward to protect us from music that wasn’t “patriotic” enough. Many felt I was wrong when I suggested turning off the news and living again.
But I stick by my belief that, when tragedy strikes, the music you love matters. The things in your life which give you hope matter more than watching tragedy unfold via 24/7 instant news. And when our soldiers went to Iraq and Afghanistan to fight for our country and to prevent, hopefully, another attack like this from ever happening, they too took solace in music and culture, the very American identity they’d sworn to protect.
So as you remember the fallen from September 11th, twelve short years ago, please also remember to celebrate the good things we have in life that those who died would surely die again for, those things we so very often take for granted.
All The Love You Got: Diane Birch returns with single that proves she’s more than just a great pop throwback
After more than four years left waiting, wondering if she was a one-trick artist capable of only that one perfect album, word arrives that Diane Birch has a follow-up planned to the addictive debut Bible Belt which earned her so much praise. We still must wait another six weeks for Speak A Little Louder, which drops on S-Curve October 15, but Birch recently released her single “All The Love You Got”, which is eerily addictive, an immediately ear-catching melody which bodes well for the remainder of the album.
Birch’s first album, as good as it was, suffered somewhat from all the comparisons to the artists who clearly inspired each song’s creation. This lead her to be pigeonholed as something of a throwback artist to seventies AM pop in the same way Amy Winehouse revived interest in sixties girl group r&b / soul. The new single, while it would easily please the songwriting palate of a Stevie Nicks any day, still showcases the artistic growth Birch has undertaken during the four-year hiatus. A great deal more of her own personality shows through the strong melody, as her powerful voice arrives instantly to destroy the competition in a single stroke. Look for this album to be the talk of Indie circles nationwide when it arrives, because this is pop music as it needs to be heard.
Pennsylvania rapper Dubby (a.k.a. Caleb Joyce) is set to put Gettysburg on the map as more than just a Civil War mecca. The kid’s got serious flow, as illustrated by his video for “Game of Thrones,” a track which reminds me rhythmically of Brother Ali, and his ability to speed up and slow down his delivery while maintaining a steady flow. “Collapse the diaphragm / This is a test / Breathe / Stretch / Shake / Mace / Puff / Pass / Rough / Patch / Sandpaper shit / That’s a must have / Pick people for my team who can buff that!”
Collapse the diaphragm
This is a test
That’s a must have
Pick people for my team that can buff that!
You picked a dude that can jump and that runs fast
That overlaps the one runner who comes last just to run laps
But I’ma pick the dude that was humbled
By having defeated his demon
Look for the heart and never the pride
Sure, the things he says take some mental gymnastics to decipher at times, but the hook is there behind the concept. “Game of Thrones” showcases Dubby as a guy on the way up, looking to build his team from other hungry rappers of his ilk, and once he gets that throne, there’s no one going to take it from him. “I’m just waiting for my kingdom to come,” he sings on the chorus, and by the end of the track you’ll believe — even if just for a moment — that success will eventually find this kid. That kingdom’s gonna come and you heard him here first!
Ask yourself for a minute just what makes for a full-throttle pop stunner, and “What If” by Five For Fighting masterfully answers. Start with a memorable piano hook, then layer on thundering percussion and staccato vocals over an eventual guitar hook at the chorus which simply can’t be expunged from your mind. Draw listeners in with the music, then hit them with a deceptively simple line of questions which stand to probe the deepest failings of a relationship, putting us in the unenviable position of seeing things through another’s eyes.
“What If” proves itself to be up to the challenge of throwing 2013′s pop fans a lifeline, an instantly repeatable song which reveals more on each listen as we dig deeper into what first seemed simple but later becomes far more complex. “What if you told my lies? What if I cried with your eyes?” Ondrasik asks, emotion brimming over from every falsetto note left ringing in our ears. “Could anyone keep us down?” Here, he sings to an unseen second person of a relationship on the rocks, questioning both himself and her about where the failings lie. Is it me? Is it you? Are we both equally to blame, for simply never considering the other’s point of view? What if all that’s needed to save the relationship would be for both to “rise up” and admit that no one’s right?
It fits perfectly in line with Lucas Jack’s “Paralyzed” off Sun City, another song which dared to pick apart a broken relationship knowing as he did that there might not be a way to put the shards of shattered glass back together. “What If” does this with a hook aimed more for mass consumption than deep-thoughts contemplation, but it is refreshing to hear such nuanced lyricism on such a dead-on-arrival format as pop top 40 radio. If Five For Fighting has a hit with this, there’s evermore potential for songs like Lucas Jack’s to push the boundary of pop introspection even further.
Take a chance for a minute and give this a listen. He’s thrown us a lifeline, but if we don’t take it …
I spent yesterday immersed in all things metal, covering this year’s iteration of Gigantour for “Hear! Hear!” and PopMatters’ Events section. You’ll have to check back at PopMatters in a week or so for full coverage of the six-band event, but these photos couldn’t wait to see the light of day. Feel free to comment about your favorites below — and for those of you out there who love taking rock photos as well, who are your favorite subjects? Is there a band you wish you had the chance to snap a few quick unblocked photos?
Click on the photos to see a larger version.
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Matthew Lindblad definitely has plenty of experience as part of the Orange County music scene. A multi-instrumentalist, singer and songwriter, Lindblad played guitar with the band New Years Day, which gave him a taste of mainstream success including Warped Tour experience. Now he’s teamed up with Gus Flaig (drums) and Chris Chavez (guitars, vocals) to form Rebel Revive, a band which is able to draw on Lindblad’s experiences with rock influences both old and new, to create a sound they can call their own.
The result is XI, a hybrid of pop, rock and punk influences named for the eleven years Lindblad has spent performing his music in the area. “The Voices,” the EP’s standout single, features a fresh musical backdrop which reminds this critic of Blink 182 or Cartel if they were filtered through the Slip (must hear: “Even Rats”), with the band singing a chorus of “whooooah-oh-oh!”s as Lindblad claims they have the voices, silent for too long, which will now speak for a generation. While that may be an overreaching statement, the chorus itself is incredibly ear-catching and repeatable.
The rest of the EP builds on that hook to create songs which are memorable and instantly accessible. With “Better Days” and “Stars” standing out as potential future singles, there’s no reason to expect this album to fade away anytime soon. If anything, expect your appetite to be barely whetted. You’ll have to settle for repeating the six songs and hoping it won’t be too long before the band puts together the epic full-length this hints lies just over the horizon.
XI officially drops tomorrow, but if you’re ready to go for a musical ride, “Hear! Hear!” has the entire album streaming exclusively today! So strap on your headphones and press play, then make sure you share this music with everyone you know with good taste. You may have heard it first, but they’ll all want to ride your coattails.
Texas-based songwriter Lucas Jack has made no bones about his desire to bring back the glory days of the piano-pop songwriter, whether that singer be Billy Joel or Elton John. But his attempt to reinvent that tradition, while maintaining the familiar beats listeners will have come to expect, does a surprisingly solid job expanding it as well.
Sun City, a concept album which follows a couple through their journey toward the American Dream, though the detours are numerous and their success rarely assured. These songs are often Joel’s Brenda and Eddie from “Scenes From An Italian Restaurant,” as they travel through the darker edges of modern suburban life. Midway through the album, “Hope” takes on a darker view of Joel’s “She’s Always A Woman,” in particular:
There’s a distance in her eyes
Every time she starts to lie
And she’s far away tonight
And she always offers hope
That she wraps around your throat
Like a hangman selling rope
The war is only words you never say
The score you keep just counting down the days
Keep singing with the chorus in the bar
To blacken out the dark
And keep on coming back just as you are
But it’s not just an exercise in cheap misogyny like Joel’s hit, taking cheap shots. The song illustrates the buying of time which takes place in a marriage collapsing despite everything both spouses try to do. Both sides want to keep things together, so she lies and he accepts the hope she provides, even as he lies by saying the marriage still has a chance and that he’s not strangling against the metaphorical noose. The song’s haunting tone echoes the futility both must feel in the situation, with little they can do but keep living lie after bitter lie.
We witness the same couple earlier in the album on “Paralyzed,” as the husband debates just walking away from everything, even though he knows he never will. Lyrically this is where Lucas Jack shines, laying everything on the line in brutally cutting prose as his piano echoes the hopeful tone which will obviously keep this man in the marriage past its breaking point.
Once a month with our t-shirts on
That’s how far our love has gone
Our friends all tell us we should both move on
But we’re tangled up too tight
We’re paralyzed in our separate ways
We’ve both got kids of our own these days
And they’re making it harder to walk away
But we’re both long gone inside
How’d we get so old at 35?
I don’t want to give you the perspective that this album is nothing but bitter pills to swallow, backed by sunny piano pop which belies the devastation within. Lucas Jack is a talented songwriter who echoes Billy Joel in his delivery as often as he does solo-era Ben Folds and (on “Don’t Get Carried Away” in particular) even a touch of contemporary Randy Newman. These are songs crafted from the ground up to focus on all angles of the song, and it makes for an album full of vignettes which each deserve to be single candidates.
“You Belong To The City Now” stands tall as the album’s best individual track, and it’s rightly been named as the album’s lead single. It opens with piano, bass and guitar as Jack’s vocals sing of “living it up until it’s way too late to live it down,” his characters’ first glimpse of the city life which, while it eventually will consume them, still holds an alluring aura. I was reminded immediately of “Bonfire of the Vanities,” the Tom Hanks character who thinks he’s the master of the universe, making loads of money so he can live what he thinks is the perfect life, but we know he’s just a few steps away from being destroyed by that lifestyle. On the fourteen songs which follow this introduction, these two characters will take a serious beating — by the end, will they still believe in that dream? Does that upward mobility to the middle class mean anything, or are we all struggling to get past the moments which in the end would really matter the most?
In the end, Sun City is a remarkably astute debut from a songwriter who has crafted a song suite which plays well from the first hit, building in intensity as we listen more and more, sifting through all the lyrical details. It’s like watching a film where we’ve known these characters in varied forms all our lives, so we’re invested in seeing that they come out in the end with at least a semblance of dignity. This is modern American life, and like the troubadours he so admires, Lucas Jack has potential here to have produced a contemporary pop classic. For fans of the genre, missing this album would be a misstep you don’t want to make.
Brazilian singer / cellist Dom La Nina’s “Sambinha” brings out the smiles, requires further review of debut Ela
If this doesn’t bring a smile to your face when you wake yourself up this morning, I don’t think anything will.
Over a plucked cello melody and guitar backdrop, the talented young songwriter lays down a layer of sweetly catchy vocals, creating one of those to-the-point singles bands like Sergio Mendez and Brasil 66 used to put out back when this music had its brief heyday in America.
It’s a song worth checking out, and it makes me want to dig deeper into her debut LP Ela, out since January on the Six Degrees label. Some have likened this sound to what Cat Power might manage if produced by the likes of Brian Wilson. I’ll leave the comparisons up to you, because I only have half an hour before work and I need to hear the song at least five more times first.
Dom has been featured on WNYC’s Soundcheck Blog, KCRW’s Morning Becomes Eclectic, and NPR’s Weekend Edition and Studio 360. She made her US performance debut at the Make Music Pasadena festival and Hotel Cafe last weekend in Los Angeles, and returns to North America in early July, including a New York City date at Joe’s Pub. Hopefully she’ll do well and they’ll announce more dates for those of us stuck in the midwest. Until then, the recordings will have to suffice.
They say every journey starts with a single step, but mine started with a nearly five-mile walk back at the end of April. Aided by my iPhone and my obsessive tendency to rely on statistics to keep myself motivated, I found myself falling into the routine of daily walking excursions, taking the chance to explore the town of Tell City, Indiana, while shedding inches.
For the old-school fan of classic rock who isn’t afraid to mix plenty of Humble Pie and Jeff Beck into their listening schedule, Blades of Grass by Dirty Streets should be an album on your immediate listening list when it hits shelves on July 9th. Until then, get your fix with a few repeats of “Stay Thirsty” to keep your pump primed, a track which the Memphis-by-way-of-Mississippi power trio recorded at the legendary Ardent Studio with production help from sound engineer Adam Hill, with added power provided by Lucero’s Rick Steff on keyboards. With two full-lengths already to their name along with an extensive touring history, expect big things from these guys in the coming months. To learn more, check them out on Facebook!
“Tell Me When You See Something Worth Saving” — Why you should immediately become familiar with the work of Darrin Bradbury
Darrin Bradbury tells things as he sees them, which makes this four-track single release, A Casual Conversation With Superman, a stunningly repeatable listen. “True love’s gonna make you lose your teeth,” he sings on the track “True Love,” which equates a broken-down love affair to the decay of an addiction to methamphetamine: “How I wish I could get back to when love was just a toke of something green like your eyes and gold like your hair,” he mourns, before suggesting that true love burns fast, sweet and then becomes suffocating and destructive. That’s much like the take on the Superman trope on the first track, which really is the standout. “Tell me when you see something worth saving,” Superman snarks at the songwriter while standing outside a telephone booth. “Flying will hurt your back and the spandex makes you itch … sometimes this world just ain’t worth saving.” That and saving the world repeatedly still doesn’t get you laid enough, what with Superman’s kryptonite sperm and all.
Trust me, this songwriter from West Virginia brings the goods. This EP’s only the starting point — get hooked on it, then move on to the harder drugs of The Quiet Side of Hell, which really gives you the goods on what Bradbury has to offer. This is Steve Earle meets Drive-By Truckers, with the sharp lyrical edges of John Prine and the strong folk melodic flair of Danny Schmidt. In other words, listen and you won’t be disappointed.
Doing all she can to show us pop love, Naia Kete’s “Crazy Glue” sticks to the skull like the best ear candy
Back in October we premiered the single “Cherry Love” by Natania Lalwani. If you fell instantly in love with that slice of perfect pop candy, you’ll be just as enamored with what Naia Kete offers on her latest single “Crazy Glue,” which fits right into that vein of enthusiastic addictive surrender to the art of love. She gets positively high over the touch of a hand and vows to stick to her lover like glue, melding the message via sing-song vocals to a backdrop of guitars, pianos and light percussion, crafting a generous singable hook which is the perfect complement to the endlessly repeatable “Cherry Love.”
Kete, who now lives in LA, was a contestant on The Voice‘s second season and is set to play the Bonnaroo Festival in Manchester, Tennessee this June, at which point she’ll release her third EP, followed by an appearance at Outside Lands Festival in San Francisco this August. If the material on the new EP continues in the vein of “Crazy Glue,” expect the hooks to bounce around the confines of your skull like the best summer songs pop music has to offer.
“These Diamonds In Our Hands” — Cris Cab’s “When We Were Young” melds Dave Matthews, Rob Thomas for robust single
This single by Miami-based singer-songwriter Cris Cab caught me by surprise this afternoon, a refreshing blend of Dave Matthews instrumentation with vocals which blend echoes of Rob Thomas with hints of reggae in the hook. The overall backdrop, when played on repeat, keeps drawing me back to Paul Simon’s Graceland, particularly when the horns come in strong at the 2:35 mark. This is a sunshine-soaked pop hit-in-the-making which should easily warrant proper headphone treatment followed by a proper blasting from your car’s speakers as you cruise down the highway.
If you dig the single as much as I have, check out his Red Road mix-tape, which arrives ahead of Cab’s upcoming debut album due this fall. The mix features collaborations with Hip Hop artists Mike Posner and Wyclef Jean, and can be streamed via SoundCloud.