It’s hard to believe it has been two years already since Kings of Leon’s highly successful breakout album, “Only By the Night,” was released. Songs from that album are still reverberating all over radio. Now brothers Caleb, Nathan, and Jared, along with cousin Matthew, are releasing “Come Around Sundown” — their fifth studio album. I think one question on everyone’s mind is: Can it compare to 2008’s commercial juggernaut? Well, I am lucky enough to have heard the new album already… and I have the answer: Who cares?
The album is a strong and unyielding endeavor. If you’re looking for the “Use Somebody” Kings that shot to uber-stardom with their last album, you might be a bit disappointed. Parts of it are there, but it’s very understated and I don’t want to make comparisons because they sound different with each progressing album. This is one of those bands that I love to see explore new sounds because they can do so much experimentation and still sound incredible.
The album kicks off with “The End.” With a transcendent bass line, the brooding song has almost a Killers(-ish) sound to it. The first single off the album, “Radioactive,” is a thrashy, riotous number with a fuzzy guitar sound, complete with falsetto backup vocals.The backing falsetto continues on “Mary,” a song that holds a steady beat as Caleb pledges, “No I won’t, never once, make you cry / Just to kiss, how I’ll miss your goodbye.”
Several songs pay homage to the band’s home state of Tennessee. “The Face” suggests, “If you give up New York, I’ll give you Tennessee, the only place to be.” The tribute to their roots continues with the southern anthem, “Back Down South.” With a country tinge and a hint of steel guitar, it’s a mesmerizing song, highlighted by Caleb’s lackadaisical singing. The juxtaposition works great. While on the surface, they are singing about the south, upon closer examination of the lyrics, the song could also simply be construed as another “Sex On Fire,” as the descriptive imagery suggests. I love the double meaning behind their words!
“Birthday” is a good-time drinking song all about taking someone home and “Fallin’ and laughin’ at the drinks we spilled / Just one of those nights that I had to share.” As for “Mi Amigo,” I have a hard time trying to figure out if he’s being literal or if what he’s singing about is symbolic of something else. It’s hard to tell, but it’s a fun song, nonetheless. The album closes with “Pickup Truck,” an intensely passionate track that alludes to getting caught having an affair.
Lead singer Caleb Followill’s soulful, raspy voice echoes through the entire album and if you’re a longtime Kings fan, you’ll notice “Come Around Sundown” evokes some elements of their earlier albums, “Aha Shake Heartbreak” and “Because of the Times.” Still, this album also propels them forward into a new realm. It’s a little more subdued than strident, focusing more on the laid-back, meandering musicianship and thought-provoking words. It’s a solid effort and a great album to listen to whether you’re at the gym, on a road trip or if you just want to unwind.
Friday, October 15, 2010
Paramore/Tegan and Sara concert
Me w/ Tegan and Sara (or Sara and Tegan if we're going from left to right)
Pop rock, chick rock, punk-pop rock, alternative rock… however you want to categorize Paramore, the operative word here is: rock. And what I witnessed at the Honda Center in Anaheim this past Sunday was a genuine rock show in every sense of the word. These guys really know how to put on an entertaining concert — full of energy, pyrotechnics, and even a little head banging. But I’ll get to that in a minute…
The Anaheim show was the very last night of the 2010 Honda Civic Tour. Kicking off the night in this four-band event was Kadawatha, who was then followed by New Found Glory. As an old school NFG fan, I was pleasantly surprised and glad to see that they’re still touring and going strong as a band. Their set was short but memorable and even included their cover of Sixpence None The Richer’s “Kiss Me” and they surprised the crowd by bringing out Paramore’s Hayley Williams for their song “Vegas.”
After New Found Glory, one of my all-time favorite musical acts, Tegan and Sara, took the stage. This was my sixth time seeing them in concert and I truly never tire of seeing them. Usually, their music comes across much better in a smaller, more intimate venue, but they sounded GREAT in the arena! It just so happened to be the twin sisters’ 30th birthday and they celebrated it with perfection as they opened their set with “Living Room,” leading straight into “I Bet It Stung,” followed by “The Con.” When they started playing “Walking With a Ghost,” things took a comical turn when people dressed in sheets came out on stage as ghosts and started dancing around.
After performing more of their old favorites, like “So Jealous” and “Where Does the Good Go?” the twins played some stuff off their current album, “Sainthood.” Meanwhile, I was loving every minute of it because this arena was filled with nearly 15,000 screaming fans waiting to see Paramore and those who hadn’t heard of Tegan and Sara before were getting a lesson in how great they really are. Of course, many were there to see Tegan and Sara as well, but I think it’s safe to say these girls will now have a lot more fans thanks to this tour. After closing yet another fun and perfectly executed set with “Hop A Plane,” the ladies left the stage following an erupting applause.
And now to the main event — I’ve been a fan of Paramore for a couple of years now, but this was my first time seeing them in concert, so needless to say, I was pretty excited to see what was in store. The music started with the band behind a curtain. After only seeing their silhouettes for a few minutes, the curtain finally dropped and they opened with “Ignorance.” I was immediately sucked in. After “No Sympathy,” the band had everyone (including me) singing and dancing along to “That’s What You Get.”
Hayley Williams is the ultimate frontwoman: charismatic, engaging, and fun with a powerhouse voice. Donning a Girl Scout sash, she was full of energy, running around on stage and head banging to a point where I had to question how many Red Bulls she had consumed. This girl must run daily marathons uphill while singing. How else could she have this much energy and be able to sing like that while being so active on stage? But I guess that’s just how talented she and the rest of the band are. They made it very clear how grateful they were to all their fans and made this show worth the fans’ while.
After sending the audience into a frenzy performing “Decode,” the band paid tribute to their roots. Having formed in Tennessee (the country music capital) Hayley busted out a rendition of Loretta Lynn’s “You Ain’t Woman Enough To Take My Man.”
For the acoustic part of their set, Hayley and the boys (lead guitarist Josh Farro, drummer Zac Farro, bass player Jeremy Davis, and rhythm guitarist Taylor York) were sitting on and gathered around a stylish red couch playing their songs campfire-style. During the acoustic portion, they dedicated the song “Overlap” to all their fans and ended with “Misguided Ghosts,” before taking a brief break.
Upon returning, they kept the nonstop energy up and had everyone in the arena on their feet for “Crushcrushcrush” and then slowed things down a bit with their current hit “The Only Exception.” This is where my one complaint about the show comes in (and it had nothing to do with the band at all). This song is the typical “Bic lighter” song where everyone holds up a lighter and sways back and forth, which is great. It’s tradition. Every great band has at least one of these songs. And maybe I’m old-fashioned, but I was bothered by everyone (and I mean everyone) using their cell phones instead of a lighter. Or using their “lighter app” on their iPhone, which is just a poor substitute. It distracted me.
For that matter, I was also distracted by every third person constantly holding up their video cameras throughout the entire show. I find this happening more and more with every concert I attend. Maybe I’m being too picky, but doesn’t it take away from the concert experience by watching the whole show through a tiny screen on your camera? A word of advice to all concert-goers: just take a few pictures and maybe film them singing your favorite song, and then put the technology away and just be in the moment. Be there with your favorite band and experience it with them. The memory of it will be far more effective than a grainy video taken from 200 feet away. It’ll also be less distracting to the people around you. Sorry for the tangent… I just had to vent for a minute.
Now, back to the show. After leaving the stage, the crowd was clamoring for more and Paramore gave us exactly what we wanted. For their encore, they began with “Brick By Boring Brick” and followed that up with their very first hit, “Misery Business,” which is what closed out the night along with sparklers and falling confetti. None of this, however, before making one lucky fan’s entire year by inviting him up on stage to sing with the band. Seeing as how he said he had seen them in concert 21 times and it’s pretty much everyone’s dream to be pulled up on stage by their favorite band, I’m assuming he can cross this off his bucket list and will probably never want for anything again.
It may have been my first time seeing Paramore in concert, but after an explosive and lively show like this, it definitely won’t be my last. Their touring continues overseas in October starting in New Zealand, but I’m hoping they’ll make it back to the states soon.
Thursday, September 2, 2010
My Interview with Jenny Lewis and Johnathan Rice
Me and J.Lew
Ooookay...so I got to interview THE goddess of music, my favorite singer, ruler of my iPod and biggest musical inspiration, Jenny Lewis. Cross that one off the bucket list.
After two previous solo albums under each of their belts, Jenny Lewis and Johnathan Rice have finally decided to join forces on a full-length alum entitled “I’m Having Fun Now.” I, for one, could not be more excited. Each of them is an established artist in their own right. Jenny Lewis (who happens to be my favorite singer) is the lead singer/frontwoman of beloved, semi-defunct, LA band Rilo Kiley and she also earned critical praise on her two solo albums, “Rabbit Fur Coat” and “Acid Tongue.” Virginia-bred Johnathan Rice brought his Dylan-esque attitude to his past solo albums, “Trouble Is Real” and “Further North.” After previously collaborating on each other’s records, they’re taking it to the next level performing as Jenny and Johnny.
I had the incredible opportunity to interview Jenny and Johnny about their new album and asked the real-life couple about the collaboration process.
Johnny: “We've developed a pretty easy working relationship. For this album, anyway. There were no Fleetwood Mac levels of strife.”Jenny: “It wasn't fraught, but I think the more you play music, the more you learn the language of music and being able to express what you hear. It's one thing to hear it, it's one thing to play it, but I think you have to be able to communicate what you want. With this, we worked with Pierre de Reeder from Rilo Kiley and he is very open. So, we were actually able to get our hands on the controls in the studios, plug stuff in, where in the past it was a little more hands off.”
The finished product is pretty extraordinary. This is a fun album (as the title so aptly states)! Serpents, sharp shiny objects, withering relationships, and the seemingly unending recession are all motifs thoroughly explored and exposed on the eleven-track collection. The laid back and upbeat sound is juxtaposed with the lyrics, which offer a more dark, brooding, ominous tone. When I asked if they were going for a specific sound on the album, Johnny told me, “I think the sound kind of emerged into its own thing. We didn't want to make something that sounded like it was from another time. We wanted it to sound like it was from right now.”
“Right now via the ‘90s rather than the ‘60s,” Jenny added.
Some songs on the album have a kind of beach-feeling sound to them. The kick-off single, “Scissor Runner,” and the catchy and relatable “Big Wave” (which is all about lack of money and self-medicating) are prime examples of that. Johnny explains, “We made a concerted effort to spend much more time at the beach because this is the most time that we've had off. We spent a lot of it at the beach.”
“Renting bikes,” Jenny added. “We had actually gone bike riding in Venice. And I actually have a tan for the first time since I was in ‘The Wizard’” (alluding to her fair skin and her acting past).
The album is full of memorable tracks. “Switchblade” is all about what happens when you go from being broke to finally getting some money in your pocket with lines like, “It was poverty that kept you sweet / And dreams that kept you young. The money started rolling in / You stopped having any fun.”
“My Pet Snakes” is a thrashy, beat-laden number about a conflicted relationship (whether personal or professional). Once the NRE (new relationship energy) is over, what comes next? Do you stay and keep at it or do you bail? While in “New Yorker Cartoon,” we’re taken for an acid trip of a ride complete with vampire bats and saluting paper bags. “Committed” is a song I appreciate for personal reasons. Being a huge Michael Jackson fan, I got a kick out of the line, “For God and for country, for Michael Jackson’s monkey…” -- an homage to the singer and his chimp, Bubbles.
“I’m Having Fun Now” is transcendent, reaching every level of emotion, making it easy to listen to no matter what kind of mood you’re in. Johnny (sporting a spiffy new haircut as a result of losing a bet) easily blends his raspy, growling voice in with Jenny’s hypnotic, rich, honeyed vocals.
The two of them have the ability to create something beautiful. Their personal relationship is balanced perfectly with their professional relationship as they both seem to have genuine respect for each other’s work. I asked what Jenny’s favorite Johnathan Rice song was. “Animal,” she responded. “But it’s hard because songs change... your perception of them.” And Johnny’s favorite Jenny song? “Silver Lining.”
Working with each other hasn’t stopped them from branching out and working with other people. I asked them whom they would love to collaborate with the most.
Johnny: “We’ve both been so lucky and serendipitous. I feel like we'll probably get to collaborate we everyone we want to. Almost. Jenny has sung with Emmylou Harris, Gillian Welch, all these great artists… and it all happens very naturally and beautifully and you couldn't ask for anything more, really.” Jenny: “Well, when you get a chance to work with Elvis Costello, at that point you’re kind of like ‘OK.’ But actually, I'm a fan of collaborating with people who are just kind of beginning their musical careers in a way. I love working with women who are just starting to embark on that journey. It's always great to have a bunch of girls in my band that are on their first tour. Like the [Watson] twins when we toured “Rabbit Fur Coat,” it was so much fun.”
As for Jenny’s band, Rilo Kiley, many are wondering what will become of the cherished group. I asked Jenny if I witnessed the very last Rilo Kiley concert at the Greek two years ago, or if they had something in the works. She told me, “I don't know. I know we don't have any plans to make a new record right now but we are putting together a compilation of B-sides and rarities, which is taking a bit longer than we originally expected, so we're hanging out and compiling a bunch of stuff. So, we'll see what happens with that.”
Jenny and Johnny kicked off their tour in Jenny’s native Los Angeles on Sunday night at Three Clubs in Hollywood to a crowd of about 200. The intimate show is just the first of many over the next few months. I asked them what is their favorite city to which to play. Jenny loves playing in Los Angeles and Austin, while Johnny likes D.C. and Chapel Hill.
Be sure to catch them on tour in your city! If it’s anything like Sunday night’s show, you’re in for a great time with artists who genuinely love what they do.
5 Quick Questions with Jenny and Johnny:
What is the song that made you want to become a musician?
Jenny: “Pass the Dutchie.”
Johnny: “ ‘Cinnamon Girl’ by Neil Young and Crazy Horse.”
What is your biggest guilty pleasure?
Johnny: “Sleeping when everyone else has to work.”
Jenny: “I don't really have any guilty pleasures…Mum's the word.”
Something you want to try that you’ve never tried before?
Jenny: “Uni. Sea Urchin. It looks so gross.”
Favorite location to get away from it all?
Johnny: “Big Sur”
Jenny: “The back yard.”
What is the one thing you can’t live without on tour?
Jenny: “A soft pillow.”
After two previous solo albums under each of their belts, Jenny Lewis and Johnathan Rice have finally decided to join forces on a full-length alum entitled “I’m Having Fun Now.” I, for one, could not be more excited. Each of them is an established artist in their own right. Jenny Lewis (who happens to be my favorite singer) is the lead singer/frontwoman of beloved, semi-defunct, LA band Rilo Kiley and she also earned critical praise on her two solo albums, “Rabbit Fur Coat” and “Acid Tongue.” Virginia-bred Johnathan Rice brought his Dylan-esque attitude to his past solo albums, “Trouble Is Real” and “Further North.” After previously collaborating on each other’s records, they’re taking it to the next level performing as Jenny and Johnny.
I had the incredible opportunity to interview Jenny and Johnny about their new album and asked the real-life couple about the collaboration process.
Johnny: “We've developed a pretty easy working relationship. For this album, anyway. There were no Fleetwood Mac levels of strife.”Jenny: “It wasn't fraught, but I think the more you play music, the more you learn the language of music and being able to express what you hear. It's one thing to hear it, it's one thing to play it, but I think you have to be able to communicate what you want. With this, we worked with Pierre de Reeder from Rilo Kiley and he is very open. So, we were actually able to get our hands on the controls in the studios, plug stuff in, where in the past it was a little more hands off.”
The finished product is pretty extraordinary. This is a fun album (as the title so aptly states)! Serpents, sharp shiny objects, withering relationships, and the seemingly unending recession are all motifs thoroughly explored and exposed on the eleven-track collection. The laid back and upbeat sound is juxtaposed with the lyrics, which offer a more dark, brooding, ominous tone. When I asked if they were going for a specific sound on the album, Johnny told me, “I think the sound kind of emerged into its own thing. We didn't want to make something that sounded like it was from another time. We wanted it to sound like it was from right now.”
“Right now via the ‘90s rather than the ‘60s,” Jenny added.
Some songs on the album have a kind of beach-feeling sound to them. The kick-off single, “Scissor Runner,” and the catchy and relatable “Big Wave” (which is all about lack of money and self-medicating) are prime examples of that. Johnny explains, “We made a concerted effort to spend much more time at the beach because this is the most time that we've had off. We spent a lot of it at the beach.”
“Renting bikes,” Jenny added. “We had actually gone bike riding in Venice. And I actually have a tan for the first time since I was in ‘The Wizard’” (alluding to her fair skin and her acting past).
The album is full of memorable tracks. “Switchblade” is all about what happens when you go from being broke to finally getting some money in your pocket with lines like, “It was poverty that kept you sweet / And dreams that kept you young. The money started rolling in / You stopped having any fun.”
“My Pet Snakes” is a thrashy, beat-laden number about a conflicted relationship (whether personal or professional). Once the NRE (new relationship energy) is over, what comes next? Do you stay and keep at it or do you bail? While in “New Yorker Cartoon,” we’re taken for an acid trip of a ride complete with vampire bats and saluting paper bags. “Committed” is a song I appreciate for personal reasons. Being a huge Michael Jackson fan, I got a kick out of the line, “For God and for country, for Michael Jackson’s monkey…” -- an homage to the singer and his chimp, Bubbles.
“I’m Having Fun Now” is transcendent, reaching every level of emotion, making it easy to listen to no matter what kind of mood you’re in. Johnny (sporting a spiffy new haircut as a result of losing a bet) easily blends his raspy, growling voice in with Jenny’s hypnotic, rich, honeyed vocals.
The two of them have the ability to create something beautiful. Their personal relationship is balanced perfectly with their professional relationship as they both seem to have genuine respect for each other’s work. I asked what Jenny’s favorite Johnathan Rice song was. “Animal,” she responded. “But it’s hard because songs change... your perception of them.” And Johnny’s favorite Jenny song? “Silver Lining.”
Working with each other hasn’t stopped them from branching out and working with other people. I asked them whom they would love to collaborate with the most.
Johnny: “We’ve both been so lucky and serendipitous. I feel like we'll probably get to collaborate we everyone we want to. Almost. Jenny has sung with Emmylou Harris, Gillian Welch, all these great artists… and it all happens very naturally and beautifully and you couldn't ask for anything more, really.” Jenny: “Well, when you get a chance to work with Elvis Costello, at that point you’re kind of like ‘OK.’ But actually, I'm a fan of collaborating with people who are just kind of beginning their musical careers in a way. I love working with women who are just starting to embark on that journey. It's always great to have a bunch of girls in my band that are on their first tour. Like the [Watson] twins when we toured “Rabbit Fur Coat,” it was so much fun.”
As for Jenny’s band, Rilo Kiley, many are wondering what will become of the cherished group. I asked Jenny if I witnessed the very last Rilo Kiley concert at the Greek two years ago, or if they had something in the works. She told me, “I don't know. I know we don't have any plans to make a new record right now but we are putting together a compilation of B-sides and rarities, which is taking a bit longer than we originally expected, so we're hanging out and compiling a bunch of stuff. So, we'll see what happens with that.”
Jenny and Johnny kicked off their tour in Jenny’s native Los Angeles on Sunday night at Three Clubs in Hollywood to a crowd of about 200. The intimate show is just the first of many over the next few months. I asked them what is their favorite city to which to play. Jenny loves playing in Los Angeles and Austin, while Johnny likes D.C. and Chapel Hill.
Be sure to catch them on tour in your city! If it’s anything like Sunday night’s show, you’re in for a great time with artists who genuinely love what they do.
5 Quick Questions with Jenny and Johnny:
What is the song that made you want to become a musician?
Jenny: “Pass the Dutchie.”
Johnny: “ ‘Cinnamon Girl’ by Neil Young and Crazy Horse.”
What is your biggest guilty pleasure?
Johnny: “Sleeping when everyone else has to work.”
Jenny: “I don't really have any guilty pleasures…Mum's the word.”
Something you want to try that you’ve never tried before?
Jenny: “Uni. Sea Urchin. It looks so gross.”
Favorite location to get away from it all?
Johnny: “Big Sur”
Jenny: “The back yard.”
What is the one thing you can’t live without on tour?
Jenny: “A soft pillow.”
Thursday, July 15, 2010
April Smith and the Great Picture Show
It’s rather uncommon for an opening act to not only catch, but also hold my interest. The only other times I can recall this happening was when Patty Griffin (now one of my favorites) opened for the Dixie Chicks in 1999 and when a young, unknown singer by the name of Celine Dion opened for Michael Bolton in 1992. Yes, I just admitted I went to a Michael Bolton concert. Don’t judge. It was my first concert ever and I rather enjoyed it, even though my taste in music has changed dramatically since then.
That being said, I recently caught Jenny Owen Youngs at Hotel Café in Hollywood where the opening act was April Smith and the Great Picture Show. I had never heard of them before, but after five minutes of their performance, I had to ask myself WHY I hadn’t heard of them before. They were incredible. Fun, catchy, lively and loud. And even – dare I say? – a little Rilo Kiley-esque with a vintage flair.
If you haven’t heard of April Smith and the Great Picture Show yet, I suggest you jump on the bandwagon. Their song, “Terrible Things” is currently being used in the season six promo for Showtime’s “Weeds.” Their fan-funded new album, “Songs for a Sinking Ship” is full of ‘30s and ‘40s inspired music fused with jazzy vocals. Smith can’t be much more than five feet tall and 100 pounds, but when she hits the power notes, it’s hard to believe that such a fiery, growling voice can come out of that little frame!
The album kicks off on a high note with “Movie Loves a Screen,” which is full of energetic beats. “Drop Dead Gorgeous” is the best premise for a song I’ve heard in a long time. It’s all about dating someone who is devastatingly good-looking, but lacks the brains to even carry on a conversation: “Oh you’re so enchanting when your mouth closed/And with a mouth like that, who needs politics and prose?”
In “Colors” (my personal favorite on the album) Smith seemingly evokes the likes of Patsy Cline while singing “I’ll wear your colors my dear until you’re standing right here/Next to the one who adores you, whose heart is beating for you.” The album takes a somber turn during the heartbreakingly poignant “Beloved.” Smith’s dynamic vocals are paralyzing in this deeply affecting, morose number. “Stop Wondering” features a playful piano as she flirtatiously muses about emphatically telling her ex that she is absolutely not thinking of him, even throwing in a comedic “B*tch, please!”
The modern and quirky lyrics paired with nostalgic, old-fashioned melodies make for a musical genre rarely heard these days. “Songs for a Sinking Ship” could also be called “Songs You Want to Sing Along With” or “Songs You Want To Dance To” or even “Songs That Can Bridge the Generational Music Gap.” I can’t wait to see them live again and I’m curious to see what they do next.
That being said, I recently caught Jenny Owen Youngs at Hotel Café in Hollywood where the opening act was April Smith and the Great Picture Show. I had never heard of them before, but after five minutes of their performance, I had to ask myself WHY I hadn’t heard of them before. They were incredible. Fun, catchy, lively and loud. And even – dare I say? – a little Rilo Kiley-esque with a vintage flair.
If you haven’t heard of April Smith and the Great Picture Show yet, I suggest you jump on the bandwagon. Their song, “Terrible Things” is currently being used in the season six promo for Showtime’s “Weeds.” Their fan-funded new album, “Songs for a Sinking Ship” is full of ‘30s and ‘40s inspired music fused with jazzy vocals. Smith can’t be much more than five feet tall and 100 pounds, but when she hits the power notes, it’s hard to believe that such a fiery, growling voice can come out of that little frame!
The album kicks off on a high note with “Movie Loves a Screen,” which is full of energetic beats. “Drop Dead Gorgeous” is the best premise for a song I’ve heard in a long time. It’s all about dating someone who is devastatingly good-looking, but lacks the brains to even carry on a conversation: “Oh you’re so enchanting when your mouth closed/And with a mouth like that, who needs politics and prose?”
In “Colors” (my personal favorite on the album) Smith seemingly evokes the likes of Patsy Cline while singing “I’ll wear your colors my dear until you’re standing right here/Next to the one who adores you, whose heart is beating for you.” The album takes a somber turn during the heartbreakingly poignant “Beloved.” Smith’s dynamic vocals are paralyzing in this deeply affecting, morose number. “Stop Wondering” features a playful piano as she flirtatiously muses about emphatically telling her ex that she is absolutely not thinking of him, even throwing in a comedic “B*tch, please!”
The modern and quirky lyrics paired with nostalgic, old-fashioned melodies make for a musical genre rarely heard these days. “Songs for a Sinking Ship” could also be called “Songs You Want to Sing Along With” or “Songs You Want To Dance To” or even “Songs That Can Bridge the Generational Music Gap.” I can’t wait to see them live again and I’m curious to see what they do next.
Thursday, July 8, 2010
Lyrics of the Day/The Genius of Taylor Swift
My lyrics choice for the day:
"Romeo save me, they're trying to tell me how to feel
This love is difficult, but it's real.
Don't be afraid, we'll make it out of this mess,
It's a love story, baby just say yes."
Okay, let's talk about Taylor Swift for a moment, shall we? The first time I heard her first single, "Tim McGraw," I had a gut feeling this girl was gonna go places. Imagine my surprise when I learned she was only 17 at the time! Then came "Teardrops on My Guitar" and "Our Song" and I knew this was not the last we'd be hearing from Ms. Swift. She was a huge hit in the world of country music and had infinite potential to cross over, but I never thought that, when it happened, it would be this huge. Sold out arenas, a number one album ("Fearless"), several top 20 hits...the list goes on and on. What is it about Taylor Swift that makes her so relatable? Just listen to her lyrics and there's your answer. They are simple and sweet and every young girl at one point or another has felt exactly what Taylor sings about. Love, heartbreak, friends, growing up, revenge on a not-so-nice ex. It's all there.
And it makes me wonder how different my life would be if Taylor Swift had been around when I was in high school. That would have been...for lack of a better word...AWSOME. I would have had an anthem for every emotion I was feeling. Every broken heart I suffered, every teen angsty feeling I had, every regret, every mistake I made, every new relationship...I would have had words to convey it all. "You Belong With Me" is the ultimate unrequieted love song. "Love Story" is the ulitmate forbidden love song (to which i can actually equate my current relationship to). "The Way I Loved You" is the ultimate song about an intense, passionate romance gone wrong that you sometimes still long for. And "Fifteen"...that is the ultimate 'high school sucks, so i'm just going to get through it the best i can' song. I love it. I love it all. It brings out the teenager in me.
"Romeo save me, they're trying to tell me how to feel
This love is difficult, but it's real.
Don't be afraid, we'll make it out of this mess,
It's a love story, baby just say yes."
Okay, let's talk about Taylor Swift for a moment, shall we? The first time I heard her first single, "Tim McGraw," I had a gut feeling this girl was gonna go places. Imagine my surprise when I learned she was only 17 at the time! Then came "Teardrops on My Guitar" and "Our Song" and I knew this was not the last we'd be hearing from Ms. Swift. She was a huge hit in the world of country music and had infinite potential to cross over, but I never thought that, when it happened, it would be this huge. Sold out arenas, a number one album ("Fearless"), several top 20 hits...the list goes on and on. What is it about Taylor Swift that makes her so relatable? Just listen to her lyrics and there's your answer. They are simple and sweet and every young girl at one point or another has felt exactly what Taylor sings about. Love, heartbreak, friends, growing up, revenge on a not-so-nice ex. It's all there.
And it makes me wonder how different my life would be if Taylor Swift had been around when I was in high school. That would have been...for lack of a better word...AWSOME. I would have had an anthem for every emotion I was feeling. Every broken heart I suffered, every teen angsty feeling I had, every regret, every mistake I made, every new relationship...I would have had words to convey it all. "You Belong With Me" is the ultimate unrequieted love song. "Love Story" is the ulitmate forbidden love song (to which i can actually equate my current relationship to). "The Way I Loved You" is the ultimate song about an intense, passionate romance gone wrong that you sometimes still long for. And "Fifteen"...that is the ultimate 'high school sucks, so i'm just going to get through it the best i can' song. I love it. I love it all. It brings out the teenager in me.
Wednesday, June 23, 2010
Oh JOY. How I love thee.
June 17th brought the promise of JOY! It was 2 days before my birthday and Jenny Owen Youngs gave the perfect gift by finally coming back to LA to perform at Hotel Cafe in Hollywood. If you haven’t heard of her, perhaps you didn’t read my past reviews on her album “Transmitter Failure” and her side project “Bell Horses.” Well, if you’re reading this review, then I can’t stress enough what a talent this young woman is. If you’re a fan of catchy melodies, impeccably relatable lyrics, clever metaphors and a biting wit, then you’ll love Jenny Owen Youngs.
The last time I saw her at Hotel Cafe, she performed with a full band. This time it was a much more stripped down performance, but it still had the three things that make a great concert: A girl, a guitar, and a stage. That’s all I really need.
Her acoustic guitar-playing was occasionally joined on stage by Brad Gordon who played, as Jenny calls them “the key plank and the stringy paddle.”
The Jersey-born, Brooklyn-based Youngs opened with “Secrets,” slowing down the normally up-tempo song to a pace more similar to the version on her “Last Person” EP (available now). The slow and sweet “Voice on Tape,” from her first album, “Batten the Hatches,” then followed.
There is no shortage of vulnerability in her songs and “Here is a Heart” is the ultimate example of that. She had me hanging on to every note and every word. I think the small, intimate venue helped with that.
And then it was time for something new! As I often say, it’s always the best part of a show when an artist dares to impress the audience with a new song. She did not disappoint. Fun and playful with just a hint of self-loathing, she cleverly sang, “Let’s go to your place, ‘cause I’ve got a roommate….” As her self-proclaimed “overshare song,” she sang about the fact that you know this person is bad for you, but being with them “beats the hurt.” Jenny, you must record this soon!
After closing with “Last Person” (a song I can’t help but dance to every time it comes on…no matter where I am), I was a little saddened about the fact that there was no encore. The only downside to this show is that it wasn’t long enough. Forty-five minutes simply isn’t enough time for JOY, but then again, neither is two hours. I guess I’m hard to please in that sense because I could listen to my favorite singers perform for ten hours straight. For the most part, she seemed to just want everyone to have a fun, laid-back time. She succeeded.
The best part of the night was getting to talk to her after the show when she remembered me from her last show in LA. Plus, it's always fun to know one of my favorite singers is a fellow "Buffy" fan.
The last time I saw her at Hotel Cafe, she performed with a full band. This time it was a much more stripped down performance, but it still had the three things that make a great concert: A girl, a guitar, and a stage. That’s all I really need.
Her acoustic guitar-playing was occasionally joined on stage by Brad Gordon who played, as Jenny calls them “the key plank and the stringy paddle.”
The Jersey-born, Brooklyn-based Youngs opened with “Secrets,” slowing down the normally up-tempo song to a pace more similar to the version on her “Last Person” EP (available now). The slow and sweet “Voice on Tape,” from her first album, “Batten the Hatches,” then followed.
There is no shortage of vulnerability in her songs and “Here is a Heart” is the ultimate example of that. She had me hanging on to every note and every word. I think the small, intimate venue helped with that.
And then it was time for something new! As I often say, it’s always the best part of a show when an artist dares to impress the audience with a new song. She did not disappoint. Fun and playful with just a hint of self-loathing, she cleverly sang, “Let’s go to your place, ‘cause I’ve got a roommate….” As her self-proclaimed “overshare song,” she sang about the fact that you know this person is bad for you, but being with them “beats the hurt.” Jenny, you must record this soon!
After closing with “Last Person” (a song I can’t help but dance to every time it comes on…no matter where I am), I was a little saddened about the fact that there was no encore. The only downside to this show is that it wasn’t long enough. Forty-five minutes simply isn’t enough time for JOY, but then again, neither is two hours. I guess I’m hard to please in that sense because I could listen to my favorite singers perform for ten hours straight. For the most part, she seemed to just want everyone to have a fun, laid-back time. She succeeded.
The best part of the night was getting to talk to her after the show when she remembered me from her last show in LA. Plus, it's always fun to know one of my favorite singers is a fellow "Buffy" fan.
Tuesday, June 22, 2010
'90s Nostalgia: Jewel's New Album Takes Us Back
Jewel is back. Well, she never really left, but after 2008’s country album, “Perfectly Clear” and last year’s album of lullabies, Jewel returns to form with her new album “Sweet and Wild.” While it is a follow-up country album, she is also releasing a companion cd called “Sweet and Mild” that consists of exactly the same songs, but it’s the Jewel I prefer as it is all acoustic tracks which are demos that were recorded in her home.
If you prefer her country sound, you can purchase “Sweet and Wild” on its own, but if you’re like me and you like the Jewel from her “Pieces of You” days, I recommend picking up the deluxe album which includes “Sweet and Mild” – the 11 tracks stripped down with just her and a guitar.
The two tracks that stand out the most on this album are “What You Are” and “Ten.” In “What You Are,” Jewel, being the ever-consummate poet, turns her words to music in this melodic number about celebrating and accepting who you are without questioning it. “Ten” is one of the songs I actually prefer in country music format on the “Sweet and Wild” album because it is a true country song at its core. Easily relatable, it’s about getting into a fight or argument and just stepping back and counting to ten before you take it any further and create regrets.
In her eighth studio album and her second in the country music genre, on the “Mild” disc, Jewel finds her voice in a collection of songs reminiscent of her debut fifteen years ago. In “Wild,” she employs a country twang no doubt partly inspired by her life with husband, Ty Murray, living on their ranch in Texas. With a voice like hers, it’s pretty safe to say that no matter what sound or genre she’s experimenting with, there’s no such thing as a ‘bad Jewel album.’ “Sweet and Wild” is yet another example of that.
If you prefer her country sound, you can purchase “Sweet and Wild” on its own, but if you’re like me and you like the Jewel from her “Pieces of You” days, I recommend picking up the deluxe album which includes “Sweet and Mild” – the 11 tracks stripped down with just her and a guitar.
The two tracks that stand out the most on this album are “What You Are” and “Ten.” In “What You Are,” Jewel, being the ever-consummate poet, turns her words to music in this melodic number about celebrating and accepting who you are without questioning it. “Ten” is one of the songs I actually prefer in country music format on the “Sweet and Wild” album because it is a true country song at its core. Easily relatable, it’s about getting into a fight or argument and just stepping back and counting to ten before you take it any further and create regrets.
In her eighth studio album and her second in the country music genre, on the “Mild” disc, Jewel finds her voice in a collection of songs reminiscent of her debut fifteen years ago. In “Wild,” she employs a country twang no doubt partly inspired by her life with husband, Ty Murray, living on their ranch in Texas. With a voice like hers, it’s pretty safe to say that no matter what sound or genre she’s experimenting with, there’s no such thing as a ‘bad Jewel album.’ “Sweet and Wild” is yet another example of that.
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