Not since I heard Bloomington, Indiana’s now defunct 16-piece funk outfit Flattus have I heard anything as immediately infectious as Doctorfunk, a band as comfortable dabbling in off-kilter covers as they are breaking fresh ground. I submit for your approval this funkadelic bad-assed restructuring of AC/DC’s “Back In Black,” which is as fitting a summer jam as I’ve heard in years. The jazzy funk backdrop gives the song a fresh new groove, but the vocals stick close enough to the original that this serves as a fitting homage to one of rock’s greatest tracks. For more, check out Second Opinion, the band’s exceptional sophomore album, produced by Jeff Tamalier, who formerly produced or played guitar for Tower of Power, the Strokeland Superband, Cold Blood and others over the years. And follow them on Facebook, you’ll want to definitely keep these guys on your radar screen!
Forgive me for being a bit behind the curve here, but Matthew Good’s sixth solo album Arrows of Desire is good enough to be well worth the wait. Out since late September, the album follows his staggeringly good Lights of Endangered Species, bringing a serious dose of invigorating rock music to an audience starved for music of this caliber. From the opening one-two-three gut-punches of “Arrows of Desire“, “Via Dolorosa” and “Had It Coming”, this album announces itself as exactly what fans of Good have come to expect: introspective lyrics coupled with raw passionate rock arrangements which showcase Good’s always-stellar vocals.
The hooks are visceral, hitting from an emotional core no one else among his peers could mine on such a regular basis with this level of consistency. The way he stagger-holds each syllable on “Via Dolorosa” before letting loose with a guttural wail on the chorus: “Wait til I get my head on … wait til I get my head on straight!” That’s what brings us back for more, no matter how long we in the States might have to wait to ever catch him in a live setting. The raw fury comes through on the album, something ever more rare in this day of over-polished radio fodder. Check out Arrows of Desire immediately and remind yourself why rock music, in the right hands, will always be relevant.
“Sometimes all you need is just a taste,” or so the chorus of “Switchblade” tells you as the brilliant single pinwheels its way through the confines of your skull. Holy White Hounds owes a great deal to the Black Keys, but their sound has a pop-fueled energy that band often lacks, fueled by the high-end production values of Brandon Darner (Imagine Dragons, Envy Corps) who helmed the band’s latest EP. There’s a real sense of “I don’t give a fuck” fun behind this one, as the video will attest on a single viewing. You’ll be singing along with this one all day while hitting repeat and trying to find out anything and everything about this enigmatic trio. With any luck Holy White Hounds will be the big rock story of 2014, as Iowa needs some serious rocking and this song seriously deserves wider appeal.
This week on the “Hear! Hear!” and Now Podcast, I got the opportunity to sit and chat with Ward Hayden, lead singer for Boston’s Girls Guns and Glory. The band has spent the better part of the last decade building a name as one of America’s best undiscovered alternative country bands. For their fifth studio album, aptly titled Good Luck, the band chose to focus on promoting their more rock-oriented elements, including rockabilly and some dare I say Springsteenian touches on the album’s centerpiece, “Centralia.”
Veteran producer Eric Ambel, who produced Steve Earle and the Bottle Rockets in the past, took the helm on this release. He brings his deft touch to the rockier elements, making this the strongest Girls Guns and Glory effort yet. If you haven’t bought it yet, why not now? Ward’s interview touches on the finer details of the album, including stories behind songs like “Centralia” and “Rockin’ Chair Money” which give you a deeper look at the band’s sound and goals. You’ll also hear his favorite tracks off the album.
Enjoy, and remember to learn more about the band by visiting www.girlsgunsandglory.com.
For those among us who appreciate the incendiary goodness of an electric guitar soloist fully unleashed, what Eddie Brnabic does with his album Subtle Realms is positively buzzworthy, particularly on “Transcendental Wine,” an intense throwdown which illustrates his ability to trip with ease between full-throttle rock and raw oozing funk. This is instrumental music built custom for the headphone treatment, and it’s worth every effort to listen to while avoiding all other distractions. Keep an ear toward this kid — you’ll hear much more from him when this album takes off. You can stream the entire album via his Bandcamp page.
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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Blindly soldiering on, Josh Krajcik produces a solid post X-Factor album with Blindly, Lonely, Lovely
He finished second in a reality show, but let’s face the facts: Josh Krajcik has talent which didn’t need a Simon Cowell-led talent show to showcase it. So it doesn’t come as a surprise to hear Blindly, Lonely, Lovely showcasing his blues-tinged growl over larger-than-life arrangements which accentuate his ability to merge blues, rock and pop, all within a slick package.
“Back Where We Belong” brings “big” to the forefront, with its massive arrangement of piano, thundering drums and Krajcik’s lung-deflating vocals, and at times the song itself becomes overwhelmed by that top-heavy heft. Sometimes less is more, which “Nothing” illustrates as the album’s opener. That’s the song which needs to be spread around the internet as the reason this guy needs to be heard. That or the southern-blues keeper “The Remedy,” which could have fitted itself nicely into any Ray Lamontagne album yet released, or at the least as a John Mayer Continuum b-side. Steep yourself in those vocals at the chorus, along with that rising tide of horns, and try not to get swept up in the mood.
This isn’t an album he’ll be able to build a whole career on, but clearly reality success didn’t spoil him — he’s used the time in the Fox spotlight to build an audience and then released an album perfectly in line with what those fans wanted to hear, free from obsessive studio interference. With album tracks like “Don’t Make Me Hopeful” and the album-closing stunner “Let Me Hold You” anchoring this mix, there’s plenty to hope for in this songwriter’s future. If you weren’t already sucked in by the solid craft illuminated by his first two independent albums (try “Atavistic” on for size if you don’t believe me), I can’t think of a better mainstream introduction to his sound than what Blindly, Lonely, Lovely delivers.