Tag: #macklemore

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Singles Club — Seven Standalones and Heavy Heavy Strays

It’s been another busy month, full of non-stop stupidities at work and back breaking projects around the house, but thought it was time to check back in to share some tunes before things come to a boil in the election and we see what sort of future we’ve got in store for us. After all, it may be the last time I’m able to do so before having to flee imprisonment or execution as one of “the enemy within,” so didn’t want to deprive the dedicated eight of you in case you might need to do the same. (Having good music on a road trip IS critical, after all…)

We’ll kick things off with the Mobile quintet Red Clay Strays who released their sophomore album Made by These Moments over the summer and have found themselves in rather steady rotation in the months since.  It’s been two years since their debut, Moment of Truth, but the time away hasn’t found them losing focus or changing their tune. Frontman Brandon Coleman’s gruff voice and lyrical focus (on God, gittin’ down, and other country stalwarts) still reminds me a bit of Chris Stapleton, but what really makes these guys shine is the strength of his backing band, who call to mind Lynyrd Skynyrd when they let loose. On tracks like “Ramblin’,” “Wasting Time,” and the opening “Disaster,” guitarists Drew Nix and Zach Rishel divebomb around Coleman in the best tradition of the aforementioned legends’ triple guitar attack while bassist Andrew Bishop and drummer John Hall keep things chugging along.

The softer, slower songs work well too, allowing you to catch your breath in between the barrages.  From the stately “Wanna be Loved” and “I’m Still Fine” to more soulful songs like “No One Else Like Me” and the joyous handclap jamboree “On My Knees,” the band shows a nice range within the genre. Even Lord Almighty love songs like the closing “God Does” works on irredeemable non-believers like me. It’s a solid return from the ‘Bama boys who’ve been touring with beloved rabblerousers Black Pistol Fire this year — they’ve got a live album from the legendary Ryman coming out in mid-November, too, which should capture some of the fireworks nicely, so keep your eyes out for that. In the meantime give their opening statement “Disaster” a spin here and pretend you don’t hear the ghosts of Ronnie and the boys:

Up next is the full length debut of Brighton band the Heavy Heavy, otherwise known as guitarist Will Turner and keyboardist Georgie Fuller. The duo released their solid EP Life and Life Only two years ago and it quickly caught fire on the back of the irresistible single “Miles and Miles,” which was a bright, buoyant slice of nostalgia almost engineered to defeat even the most withering of defenses. The band’s retro sound of Motown meets Laurel Canyon went down easy and they thankfully have kept that recipe intact here, giving us another dozen songs of rose-colored wonder.

On One of a Kind they continue to channel their inner Mamas and the Papas, giving us a bounty of beautiful harmonies balanced atop “simpler time” lyrics about sunshine, love, and airplane rides. The words won’t necessarily bowl you over (“I’ll never be like you, man, I’m nothing like you, man, your hair’s not long enough” is but one example), but that’s somewhat beside the point. Similar to jazz scatters or stream of consciousness riffers like RHCP’s Anthony Keidis what’s often most important for acts like this is what surrounds it and that’s the music, energy, and vibe, which these guys have down pat. Think of how many songs from the 60s had simple, almost throwaway lyrics, yet remain beloved classics six decades later. (“I Wanna Hold Your Hand,” “My Girl,” “Surfin’ USA,” “Wooly Bully,” “Tequila…”) I can’t say for certain any of these will have such staying power, but I can say if you let yourself focus on the music and the mood it’s tough not to like what they’re sharing.

From the bright, opening title track and its follow on “Happiness” to  back half winners like “Cherry” and “Lemonade,” they could be singing about sale items off a coupon for all I care, this stuff just feels good.  Slower, more soulful songs like “Wild Emotion” and the CSN-inspired “Lovestruck,” or more raucous raveups like “Dirt” and “Feel” broaden things out and keep it from sounding too superficial and similar. The shimmering, soaring “Salina” is one of many favorites, closing things out on a lovely, wondrous note — give it a listen here:

We’ll wrap up with a slew of singles and start with the most divisive of the bunch, both in terms of content and author. It comes from Seattle’s Macklemore, always something of a lightning rod on his own (his overly earnest lyrics either rub you the wrong way or endear him to you), but especially when he’s wading into the ultra-contentious topic of Israel, Gaza, and Palestine. It’s his second bite at the apple, having previously released the fiery “Hinds Hall” track this summer in support of the Palestinian people. This one finds him doubling down, while inviting an assortment of appropriate assistants — Gaza-bred rapper MC Abdul, Palestinian-American singer Anees, and the LA Palestinian Kids Choir, among others.  In classic rap medley fashion he saves the last verse (and best beat) for himself, delivering another pointed critique at our government’s response and the plight of the people on the ground.  It’s another worthy listen, if only to keep the conversation going — give it a spin here:

Up next comes a new EP from Minnesota’s Trampled by Turtles, back for the first time since their ninth album, 2022’s Alpenglow.  (Produced by none other than hometown fave Jeff Tweedy…) For this one frontman Dave Simonett conducted an interesting experiment, recording the same five songs two different ways, once under his primary Turtles umbrella and then again with his equally excellent side project Dead Man Winter. The results are winning no matter the source, with the former half probably taking it by a nose as the upbeat strings and extra flourishes (specifically a pair of appearances by LeAnn Rimes) giving it the slight edge. I really enjoy the opening track, whose bright bluegrass vibe and booming chorus get things off on a great foot. Give it a listen here:

We’ll hop across the pond next for the latest from the criminally underappreciated London quartet the Boxer Rebellion who briefly resurfaced earlier this year with the four song EP Open Arms.  Their first outing in nearly six years, they quietly dropped this with next to no fanfare back in February with little explanation of what they’ve been up to in the meantime or what might come next.  (They released their sixth album Ghost Alive in equally surreptitious fashion, which landed at #7 on my 2018 list nonetheless…) This one finds them striking an almost affirmational tone, as the songs bubble with positivity and their characteristic soaring sense of hope. The opener is another lovely ode to another, whose lipstick tastes as sweet as the titular product, and it’s a dreamy slice of pop perfection. Really hoping they’ve got more coming for us soon…

Also released earlier this year was a one-off from Philly’s Mt Joy and the live album they dropped at the same time, Live at the Salt Shed. It was recorded during one of the band’s frequent (and somewhat unexpected) multi-night stays here in town. (They closed their tour with three nights this year and pulled the album from a four night run they did to close the last one, ending with a New Year’s Eve blowout.) I’m not sure what we’ve done to win them over so much (I’ve been a fan since their early day set in the scorching sun at Lolla years ago that got a pretty big response, so maybe that’s it), but it’s always good to see them come round again. This was the sole new song on the album, so hopefully they’ve got some more in store for us soon. (Their last album was 2022’s excellent Orange Blood, which landed at #3 on my year end list.)

Next up comes the latest from the Kills who recently released an EP of acoustic takes on several songs from their disappointing sixth album God Games, which came out last year and landed with a thud. (At least for me.) These renditions show the issue wasn’t the songs themselves, but rather how they chose to present them, sapping almost all of the characteristic tension and fire and instead leaving a series of limp, overly subdued takes, which blurred into the equivalent of a flat line on a heart monitor. The remake of lead single “103” trades in the woozy, lurching pace off the studio album for a more driving, plucky feel that works wonderfully, while the redo of “Better Days” amps up the original’s Spanish flourishes to give us an elegant, almost Flamenco feel that’s just missing the handclaps and twirling mantón. Check it out here:

Up next is a one off from Nashville faves My Morning Jacket and a single they dropped in the run up to the upcoming election (two weeks away, people — I think I’m going to vomit…) Written by frontman Jim James “with a little help” from bandmate Bo Koster and Manchester Orchestra’s Andy Hull, it’s a slice of James’ characteristic positivity, calling on everyone to remember their similarities and quell some of the unrelenting divisiveness that seems to color almost every discussion about politics these days. It’s similar to the type of unabashedly sunny (some more callous folks may say “hippie dippy”) songs as “Love Love Love” off their last one, 2021’s eponymous album (which landed at #4 on that year’s list), but I don’t care. As the Vice President has been saying, people are exhausted with that stuff and I for one would much rather live in a world where sentiments like these are the soundtrack rather than all the vitriol and nonsense. See how it strikes you — give it a spin here:

We’ll close with one of my favorites as one of the year’s brightest spots is back with another glorious offering — the beloved Ms Katie (aka Waxahatchee) delivers us another song from the sessions for her excellent album, Tiger’s Blood, her second in the more overt embrace of her country upbringing (the first being 2020’s fabulous Saint Cloud, which landed at #8 on my list that year). It’s a near-flawless follow up, one she’s been touring relentlessly and playing in full most nights. (And which is guaranteed to show up close to the top of this year’s list in a few months…) This one’s another wonderful entry, as she battles with giving herself to another (“stare at your picture, it’s visceral and it’s crushing — much ado about nothing…”) Long a favorite, she’s playing at another level now — just fabulous stuff. Check it out here:

That’s it for now — until next time, amici… (VOTE! And let’s hope joy and inclusivity beat back the forces of self-importance and negativity once again…)

–BS

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The Springtime Seven: Surprise Returns and Solid Singles

It’s a lovely spring day here in my beloved city by the lake (the linden trees finally bloomed so the neighborhood is redolent with the sweet scent of their blossoms) so figured it was a good time for a post from the porch. Today’s batch of boomers are a motley mix, blending hip hop, legendary punks, and pleasant pop, so should serve something to everyone before we’re done.

We’ll start with the oldest on the list — in terms of how long it’s been sitting open on my iPad, not the longevity (or absence) of its creator (both of those distinctions are held by another outfit, as we shall soon see — though both call the same town home…)  This one’s from Detroit’s Danny Brown and his sixth album Quaranta, which came out late last year (his second of the year, alongside his collaboration with JPEGMafia). It’s unfortunately another hit or miss affair, continuing the trend of his last few albums — gone are the deliriously energetic and unhinged cuts of his early outings, replaced by a spacier, more subdued tone. This seems likely a reflection of recent life events (Brown recorded it after spending time in rehab to get his drug and alcohol abuse under control), but there are still moments of that frenetic, insane cadence of old. This one’s a good example, finding Brown partnering up with label/posse mate Bruiser Wolf (of Brown’s Bruiser Brigade) — check out “YBP” here:


We’ll stay in the cut and grab another entry from the support group (heep…heep hop…heep hop anonymous…), this time from another pair of old salts, legendary producer Pete Rock and hometown spitter Common. The two have worked together on tracks here and there before, but recorded an entire album recently and despite not having an official release date it’s already presaging a possible sequel.  For starters it’s titled The Auditorium Vol. 1, but Common has also said it’s his third best album behind 2000’s Like Water for Chocolate and 2005’s Be, so the bar has been set. Judging by the first single, we’re off to a good start to those claims proving true — it’s got a classic Pete Rock beat (sampling MC Shan’s “The Bridge”) and some amped up verses from Common who sounds sharper than ever here. Really curious to see what else they dish out — enjoy “Wise Up” while we wait for the album:

We’ll close the hippity hop section with a somewhat surprising entry, both in terms of content and purveyor. The song itself is about the Palestinian crisis and the pounding its civilian population is taking at the hands of the Israeli military in its hunt for Hamas. (Death toll currently around 35k and counting…) That any song takes on as sensitive a subject as this — let alone anyone in modern hip hop, which almost exclusively doles out meaningless materialistic nonsense these days (outside acts like Run the Jewels, for example) — is something. That the person doing so is Seattle’s Macklemore, known  primarily for his overly earnest (and occasionally ham-handed) lyrics, is another.  That he does such a good job here, keeping his anger mostly in check and focused on the real issues (people’s reaction to the protests and not why they’re there, the weak (or absent) condemnations from US politicians and artists, etc) is even more impressive. It’s worth a listen — solid beat, sharp lyrics (“What you willin’ to risk? What you willin’ to give?”), and a topic that should be talked about more. Check it out here:

We’ll shift to less sensitive subjects and another somewhat surprising return, this time from Portishead frontwoman Beth Gibbons and her long-awaited solo debut, Lives Outgrown.  It’s somehow been over 15 years since her last turn with that iconic outfit (their last, 2008’s aptly named Third, appropriately landed in said spot on my year end list) and it’s been well over 20 since she recorded any original material without them. (2002’s partnership with Rustin Man, Out of Season.) Unfortunately I can’t say it’s been worth the wait — while Gibbons’ voice remains an ethereal, otherworldly vessel for vulnerability, there’s something missing here that largely squanders that tremendous gift. Portishead always juxtaposed that voice against somewhat foreboding, moody backdrops, ones whose mystery and danger heightened the peril and fragility of Gibbons’ delivery. The terrain here  is much safer and more sanitized, which strips that much needed tension from the proceedings. There are a couple anomalies — the sinister smoldering on the opening “Tell Me Who You Are Today” or the Indian-inspired freakouts on “Rewind” — and the killer “Floating on a Moment” could have been the capstone on an excellent album if there were a few more like it. Enjoy it in all its brilliance here:

We’ll step into the light now and bask in some much needed sunlight with a track from Oklahoma’s Wilderado who recently released another track off their upcoming sophomore outing. The album, Talker, isn’t due out until September, but the band have already released a third of its tracks, including this lovely little gem. Judging by the four we’ve heard thus far it doesn’t sound like they’re making any drastic changes (thankfully — their self-titled debut landed at #7 on my year end list in 2022 and has some irresistible ear worms on it), so hopefully we’ve got 8 more winners to look forward to in a few months. In the meantime enjoy this little slice of heaven, “Sometimes:”


We’ll close with a punky pair of surprising returns, the first from the aforementioned owners of both the longest absence and the longest tenure on the list, both of which clock in at over FIFTY YEARS(?!?) The resurrected ghosts are the legendary Motor City Five — better known as MC5, who are set to enter the Rock and Roll Hall of Fame in a few months. It will be a bittersweet induction as their sole remaining members — frontman Wayne Kramer and drummer Dennis “Machine Gun” Thompson — passed away earlier this year.  Rubbing salt into the wound is the fact that not only will they miss that accolade, but also the release of their new album — just the third in the band’s five decade career and their first since 1971’s High Time — which Kramer in particular has been teasing (and ostensibly toiling on) for years. They just dropped the first single from it and it’s pretty good — definitely not the “phone it in” flimsiness you might expect from a “vintage” rock band this late into their career.  There’s the swinging swagger, the fiery guitar, even some of Thompson’s trademark snare blasts — let’s hope the rest is as good as this. Give it a glimpse here:


Last but definitely not least is the return of the beloved Lizard — the Jesus Lizard! — back with their own surprise announcement of an upcoming new album, Rack.  The Lizard haven’t released anything in two and a half decades — 1998’s Blue was their last — and while there have been a handful of reunion tours since then, the band had been pretty consistent about the low likelihood of there ever being new music. Front/wildman David Yow had thrown himself into his side projects, be they his acting, art, guest vocals for a number of bands, or his solo album. Guitarist Duane Denison kept busy as part of Tomahawk, who last released an album (their fifth) right before the pandemic shut the world down in 2021. Meanwhile drummer Mac McNeilly and bassist David William Sims seem to have been content to slip into civilian life, bowing out of the spotlight by and large. I’m not sure what changed, but maaaaaaaan am I glad it did — and more importantly that as with the previous band what they’re coming back with doesn’t sound like some watered down memory of their ferocious former selves. The lead single straddles the line between echo and advancement, giving just enough sonic reminders of their old stuff while sprinkling in some fun new tricks to keep it from being a boring retread. Denison’s guitar work is vintage, as are Sims’ chugging bass line, McNeilly’s gunshot crisp drums, and Yow’s deranged yowls, and the stop-start bits at the end give it a nice, menacing lurch (or drunken wobble, depending on your mood). They announced a tour to accompany the album (though somehow are NOT playing any hometown gigs?!?), so am looking forward to seeing both in the near future. The album’s due out in September, but in the meantime crank this bad boy up and get ready to thrash:


That’s all for now — until next time, amici…
–BS

 

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Cat Scratch Fever: Early Morning Transmissions

Well — since I’m awake for the sixth night in a row in the wee hours of the morning trying (and largely failing) to not claw my skin off thanks to an unrelenting case of poison something or other (acquired not in the deeps of a verdant backwoods cabin but in the rugged middle of my urban backyard — this city truly is a magical place…) — thought I’d post the quick hitters I’d contemplated posting earlier in the week, but didn’t get a chance to.  So without any fuss, here’s what I’d planned to post for you during the week.  Enjoy!

Sunday:

Wifey found this one and like the author of the hosting link, I have mixed feelings about Macklemore writ large.  Love him or hate him (and you often do multiple times in a song, let alone album), you can never question his earnestness — and in this case the love of his grandmother turning 100 is the focus, which comes through loud and clear.  A pretty great, touching little video (and not a bad song either) — check it out…

Tuesday:

Stumbled upon this one today in the feed from the upcoming American Epic documentary on PBS (arm your DVRs now) — it’s a nice little duet between Sir Elton from across the pond and fellow iconoclast Jack White.  Simple little blues number w/ Elton on the ivories, Jack on acoustic, and lyrics about my beloved brown…

Thursday:

Found this one today on Pitchfork — nice little cover of an old Sparklehorse song by DIIV — which took me to the embedded jump to the article on why it’s been so long since I heard anything from the latter band.  Pretty great/sad writeup on the band — I’d listened to them some back in college but lost the thread on them (obviously, as the events of the article are from 2010). The stuff frontman Mark Linkous was going through (and ultimately succumbed to) reminds me a lot of my beloved Elliott.  Worth a read (and a listen to the embedded videos while you do)…

Friday:

Fuck. YASSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS…

Can’t wait to see these guys again this summer.  One of my absolute faves. That’s it for now — back to scratching…

–BS

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