Greenfield’s own Craig B. Moore has partnered with C.O.P.S. (Concerns for Police Survivors-Indiana Chapter), the Hancock County Sheriff’s Department (to help purchase protective vests for officers), and the Rush County Sheriff’s Department (to help purchase 2 K-9s for the dept) as he releases his latest single, “Thin Blue Line.”
The single, which is available for sale at iTunes, Amazon and GooglePlay, speaks directly to the families of police officers who have lost loved ones in the line of duty. As Moore told me in a recent interview:
“The story behind the song is that my brother-in-law, Officer Joshua Brinson, had penned many thoughts about the increasing number of fallen brothers in uniform around the country. In his thoughts he wrote how devastating it must be for the family of these fallen officers as well as how it affects the officers who continue to work the Thin Blue Line every day and night. He asked me to take his journal and create a song in an attempt to capture the strong emotions a family may feel when being told their officer, their hero in blue, has lost his/her life in the line of duty. Not only the emotion of pain, but also the overwhelming sense of pride in knowing he/she was serving and protecting all of us so we can live out our life in peace.”
All proceeds, 90 cents for every 99-cent download purchase, will go directly to the above-referenced charities, Moore says. For more information, you can visit a Facebook page Moore has set up to promote the single, where you can reach out to him directly.
Indianapolis’ Good Guy Bad Guy in action at Birdy’s Live
Rockin’ and a Rollin’ all day long, these guys from Indianapolis just love the act of being in the band … as they put it: “Playing loud and aggressive music to get you moving. Grooving to the sweet sweet sounds of two guitars and a drum. Look for songs about sex, wrestling, sex again, rock and roll.” Check out their latest, “Hello Cleveland,” as our featured song of the day! Then catch them June 20th at the St. Anthony’s Parish Festival (337 N. Warman Ave, Indianapolis), where you can hear more of their originals plus a bunch of covers they’re itching to bust out!
We grew up hard and our children don’t know what that means
We turned into our parents before we were out of our teens
Through a series of Chevy’s and Fords
And the occasional spin ’round the floor at the Copper Canteen
Nobody paints a lyrical picture of modern American life better than James McMurtry, who has the balls to open his first album in six years with the positively brilliant lyric “Honey, don’t you be yelling at me when I’m cleaning my gun; I’ll wash the blood off the tailgate when deer season’s done.” This is the man who wrote the searingly honest “We Can’t Make It Here Anymore” about the “WalMart”ification of American life, as well as the beautiful “Ruby and Carlos” off Just Us Kids, the perfect love song about the honest love most people experience rather than the Hallmark-style tripe we’re frequently force-fed.
“People thought that I was saying that the soldiers were Cheney’s toys — I was saying Bush was Cheney’s toy. There were clues like Cheney saying, ‘You’re the man,’ to Bush to pump up his ego, so he’d go out and sell his politics, which I read in the New York Times. Not everybody reads the New York Times it turns out.”
Willing to admit that he erred in making such a polarizing song anchor the album as a single, he’s chosen to focus Complicated Game, his latest album, on songs tied to real people living real lives. And he’s taken on vocal coaching, apparently, which has given his road-weary vocals even more power.
I’m still digging into the album, but so far I hear no reason to suspect McMurtry’s voice is anywhere near wearing out, nor that his lyrics risk losing relevance. Check out “How’m I Gonna Find You Now” below — his latest single echoes back to the frantic vocal percussion of the fan-favorite “Chocktaw Bingo” in its lyrical Molotov cocktail of American experience.
Three decades into a career with no limits, McMurtry’s proving yet again that he’s the best kind of complicated. And Complicated Game is well worth making an appointment to play.
Billed as “Denmark’s coolest artist,” J Tex and the Volunteers would be the face of Danish Americana (if that can be a thing) were T-Bone Burnett to go to Europe to produce it. “This Old Banjo” showcases that sound to its fullest extent, a bare melody of acoustic guitar intertwined with flourishes of banjo which expertly back Jens Einer Sorensen’s dry, wind-broken vocals in a very cinematic fashion. “I hear that banjo and it makes me sad,” he sings, but the effect of the song itself is the opposite, making listeners want to hear more. Like another long-lost European country outfit called Funky Nashville, J Tex and the Volunteers dig out what’s great about classic Americana while twisting it through their own unique lens, something I could stand to hear plenty more of. It’s a good thing their new album Old Ways vs. New Days comes out January 30, 2015 on Heptown Records!
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!
Adam Duritz is excited about the new Crows record due out at some point this fall, and I’ve got to say, based on a first listen to “Palisades Park,” the band’s returned to form and is ready to craft “imaginative music” again. Says Duritz, via Billboard:
“The songs are different from anything I’ve ever written before, I’ve got to say. They’re a little more imaginative, a little more imagery-heavy. They’re willing to be a little goofier and have a little more of a sense of humor, occasionally. It’s really cool.”
The eight-minute track (nine minutes plus on video) opens with an intro which seems almost the direct continuation of “Chelsea” off Across A Wire, eighty seconds which then catch fire as Duritz then begins singing an almost stream-of-consciousness lyric akin to his live versions of “Round Here” or “Rain King,” a real return to the sound in which the band has yet to dabble in non-concert form this decade. For a guy like Duritz, who has fought more than a few battles with his creativity over the years, to get back to basics in this vein without losing what made his early songs like “Anna Begins” so immediately indelible is quite an impressive act. It’s the careening free-wheeling style of his lyrics which makes this song stand out, even as the musical arrangement is equally innovative, shifting style and meter in a frenetic burst of spectacular pop songwriting.
It only took nine minutes to shift from “who knew he still had songs like this in him before?” to wondering how long we have to wait to hear the other eight. And if they’re as good as “Palisades Park,” I fully expect the album to top my year-end list.
I’ll admit that Brian Vander Ark’s vocals on the entirety of Villians soundtracked my early high school years, giving me plenty of reason to play the album and dozens like it on repeat as I navigated teenage awkwardness. Unfortunately the ’90s alternative rock scene wasn’t built on longevity, at least where myopic, aurally insensitive radio execs were concerned, and bands like the Verve Pipe, Harvey Danger and Semisonic never got the long-term traction they so richly deserved. It wasn’t that they couldn’t write another hit, but rather that radio and label honchos wouldn’t have known said hit if it broadsided them.
Thirteen years after their last full-length rock album, however, The Verve Pipe returns June 17th with Overboard, an album which relights the fire under their blend of well-crafted pop and catch-you-off-kilter rock. With “Crash Landing,” the album’s first promotional single, they show you really can’t go back again — this is no “Villians” or “Photograph” — but you can put a new spin on something and reinvent yourself in a way which is refreshing and well worth the listen. “I’m hearing words no one’s spoken,” he sings. “And I can feel my heart beat though I know it’s broken. Nothing is the way it seems, like being awake in a dream.” The chorus then crash-lands with an impact that launches this song instantly into the memory banks.
If you’re looking for the band to tread water through nostalgic carbons of what you heard while walking those sophomore hallways, you may be disappointed. But it’s refreshing to hear a band return after all these years, arriving with the verve to sound as fresh in the current musical climate as their alt-grunge did when we first heard it in the early ’90s. That the band’s songs feature hooks as brilliantly singable even after a decade and a half in limbo is the icing on the cake. Overboard is the most pleasant surprise of the summer so far, and it’s an album you shouldn’t miss.