Around the dial: Kevin Devine, Brett Dennen, Brian Fallon, and Rich Ajlouny and the Tractor Beams

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instigatorWe start big on this installment of Around the dial with Kevin Devine’s fantastic new album Instigator.  Devine has a lot of material under his belt – eight albums not including this one – but his latest is by far his strongest, most accomplished piece of work.  Others might be more partial to different periods in his career but for me it all comes together here: politics, unrelenting hooks, and more tender insights.  The cover alone, of some 10 year old’s Christmas party wrestling match, is a major highlight.  From the moment the chugging guitar opens up “No Why” the album never misses a beat.  “Magic Magnet” is power pop heaven.  “Daydrunk” is a sweet guitar drenched ode.  “No One Says You Have To” is a lovely acoustic ballad.  The title track “Instigator” says hit single to me, one part Fountains of Wayne, another part Weezer.  But I save the most love for the touching, introspective “I Was Alive Back Then.”  Imagine if Paul Simon sounded genuinely alienated and had gone through some serious angry periods – it might sound a bit like this.  An outstanding performance of a song that leaves the singer bare.

brett_dennen_coverThe hippie vibe lives on as a kind of lifestyle esthetic and Brett Dennen could be its poster child.  The influences here are all over the map: a bit of Van Morrison, just about any 1970s confessional singer songwriter, a dash of reggae at times.  However on his fifth album, 2013’s Smoke and Mirrors, Dennen upped the pop quotient with tracks like the catchy “Out of My Head” and infinitely pleasant “Sweet Persuasion.”  His most recent album Por Favor strips things back a bit without losing the hooky focus, particularly on tracks like “Bonfire.” Sweet PersuasionBonfire

brian-fallon-painkillers-album-new-2016The Springsteen is definitely there in Brian Fallon’s solo album Painkillers but the influence is more atmospheric than direct.  I love the guitar sounds on this record.  The title track opens with a great rumbly electric that gives way to lush acoustic strumming while later “Among Other Foolish Things” features a distinctive opening guitar riff that repeats throughout the song.  “Nobody Wins” typifies the easygoing rock and roll sound of the album, laid back but with subtle hooks.  If this record is anything to go by, Fallon is really just getting started.Among Other Foolish ThingsNobody Wins

richAnd now for something completely different.  Rich Ajlouny and the Tractor Beams are a bit off the beaten poprock path, but only just.  There is something definitely Beatlesque in Ajlouny’s slightly discordant vocals, reminiscent of “Nowhere Man.”  You can really hear it on “Around the Town” from Ajlouny’s 2013 solo release but it is there in spades on the more recent Love is the Stronger Force, particularly “Tough Guys Don’t Dance.”  There is also something very art rock about this band’s material and performance, as if some elements have been deliberately left out of focus.  Other highlights include “Give Her a Kiss” with its super harmonica break and “When Plans Go South.”  I also like the wonderfully quirky “Going Back to Work” with its stark admission that the protagonist is ‘going back to work after being such a jerk.’

Find out more about Kevin Devine, Brett Dennen, Brian Fallon, and Rich Ajlouny and the Tractor Beams at their respective internet locations.

Second time around: Jim Adkins, Donny Brown and The Both

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trafficWhen artists go solo or come around sporting a new band the results can split three ways.  They might come back sounding pretty much like they did when they left, which sometimes turns out well (I guess she really was the band …) or leads to disaster (hm, he really should have stuck it out with the other guys …).  But sometimes they return with a markedly different sound, a result that some find disappointing but I often find refreshing and exciting.  This post features three different artists defying expectations on their second time around.

adkinsJim Adkins is the lead singer for Jimmy Eat World and you couldn’t get a more different take on him that this solo EP.  The title track, “I Will Go,” kicks things off with sprightly clean acoustic guitar rhythm and a lovely swinging melody, later adding horns and electric guitar to what is a solid single.  He applies a similar fresh treatment to Beck’s “Don’t Act Like Your Heart Isn’t Hard.” Things get a bit edgier with his interesting take on an Everly Brothers’ b-side, “Give Me a Sweetheart,” featuring a double tracked harmony vocal and a guitar with an ominous rumble.  But the EP’s highlight has to be his bleached-out, on-tender-hooks version of “Girls Just Want to Have Fun.”  Adkins deliberately avoids hitting all the familiar notes of Lauper’s mega-hit arrangement, revealing a remarkably flexible tune underneath all Cyndi’s fun flash.  I Will Go is a winner: every track on this six song release is value for money.I Will GoGive Me a SweetheartGirls Just Want to Have Fun

hess-stDrummers get a bad rap.  Other than keeping time, expectations of what they will contribute are often low.  They are seldom the singer or songwriter for their respective group.  But here Donny Brown defies expectations.  As drummer for the grungy nineties Verve Pipe, Brown gradually expanded his influence on the band from just playing his instrument early on to contributing nearly half the songs to their 2001 album Underneath.  But nothing could prepare us for Brown’s solo outings where he writes, sings, plays guitar and drums, and goes in a completely different direction than his other gig.  brownBrown has a great soft rock vocal style and the tunes on his first EP, Hess Street, run the gamut from lush spot-on 1970s pop (“Bitter Rival”) to amazing tin pan alley recreations (“Call Me”).  A real stand out is the opening track, the McCartney-esque “Lucky Number” with its intriguing melodic twists and Band on the Run lead guitar.  His follow up EP, the self-titled Donny Brown, continues in the 1970s vein with tracks like “Life of a Stranger” and “Reach Out” but increases the hook factor on other contributions, echoing just a bit of ELO at times.  The marvelous “Now You Can Break My Heart” is a poprock masterpiece that will get in your head and stay there.

the_both_album_front_coverIs this the second or third time around for Aimee Mann?  Ok, we’re bending the rules here to include The Both, her collaboration with Ted Leo.  I can’t help but think that this record sounds like the one she could have recorded with hubby Michael Penn before he banished himself to scoring movies, if their few collaborative singles are anything to go by.  But, no matter, this debut is a killer.  Of our trio of offerings, it also represents the least departure from the artists’ original formula.  Overall, it may sound a bit tougher than Mann’s solo material at times, but the songs are indelibly Mann-esque, with all her clever turns of phrase both lyrically and musically.  While there are no weak tracks here I certainly hit replay on “Milwaukee,” “Volunteers of America,” and “Hummingbird.”  If you’re a Mann fan, this is a must have.  It will also have you checking out Leo’s back catalogue with Ted Leo and the Pharmacists (hint: start with “Bottled in Cork”).MilwaukeeVolunteers of AmericaHummingbird

Talk about missed opportunities – I managed to miss most of these acts when they blew through town.  If only I’d paid more attention to the Jim Adkins, Donny Brown and The Both websites.  Don’t let that happen to you.

Legends of poprock: Elvis Costello – the early years

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dyk39fzjckdlk1epaakpA lot of words have been written about Elvis Costello (the artist himself added a few hundred thousand in his recent autobiography Unfaithful Music) but little has been said about just how melodic his music can be.  His early years, roughly the period from his 1977 debut My Aim is True to 1980’s Taking Liberties, are crammed with hooky numbers.  “Blame it on Cain” is my favourite from the debut, with its leisurely swing and Steely Dan guitar lines, but frankly it’s a pretty close contest with just about every other track from the album.  My Aim is True is a miracle of synthesis, taking inspiration from an impossible range of sources: Van Morrison, Bruce Springsteen, mainstream seventies rock, the emerging punk scene, and arguably Costello’s father, Ross MacManus, a well known singer in the UK.  The record also represents an interesting artistic negotiation between Costello as an emerging singer/songwriter and his amazing pick up band, the American pub rock group Clover.Blame it on Cain

this-years-modelsThings changed dramatically with album number two, now backed by Costello’s defiant new band, the Attractions.  This Year’s Model charges out of the gate, its stripped-down, in your face rock and roll delivered with a crisp ferocity unmatched by any of Costello’s other recordings.  This is the critics’ favourite album for a reason.  I like it less than the debut but still love it, particularly the catchy lead guitar line on “You Belong to Me.”  Elvis dials back some of the attack on his third album, Armed Forces, letting the listener in on some impressive aural landscapes that illustrate his talent for arranging his music.  This is captured nicely on the single, “Accidents Will Happen.”You Belong to Me

r-1579497-1288764112Get Happy!! and Taking Liberties were both released in 1980, the latter a compilation of B-sides (released as Ten Bloody Marys & Ten How’s Your Fathers in the UK).  With each record topping out at 20 songs, together they represented a cornucopia of poprock.  What is striking here is the restraint, the subtle hooks of “B Movie,” “New Amsterdam” and “Secondary Modern” on Get Happy!! or “Radio Sweetheart” and “Hoover Factory” on Taking Liberties. One almost gets a sense that the songs were chiseled into shape, worked over until every detail reflected the light just so.  Of course, there were also more raucous examples like “Possession” or “Crawling to the U.S.A.”

While critics often highlight the venom and sneer of Elvis’ early recordings, these songs demonstrate his capacity for sweetness, melody, and hooks.  His penchant for poprock shifts considerably in his middle and later periods, but more on that to come.  And he had a sense of humour.  Check out this hilarious send up of K-tel commercials from the 1970s to pitch Get Happy!!

Looking for Elvis?  Forget that supermarket in West Vancouver, you can find him here.

Spotlight single: Timmy Sean “Western Rodeo”

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timmy-sean-song-of-the-weekIt seemed like an interesting gimmick – 52 songs over 52 weeks.  That was Timmy Sean’s promise for 2015.  For just $20 (US), he would produce a song a week for a whole year.  I signed up on the strength of this song alone.  Sean is musically multi-dexterous, with material that pays homage to a broad array of poprockers ranging from Fountains of Wayne to Hall and Oates.  But “Western Rodeo” is a departure in more ways than one.  First, it’s country!  None of the other 51 tracks really go there.  Second, the song’s arrangement and performance are flawless.  I like a lot of the 52 songs Sean served up but for me this single is a cut above.  It has a lovely melancholy acoustic guitar foundation that builds slowly and solidly, adding pedal steel, lead guitar, and great backing vocals, delivering a sonic impact I usually associate with early Eagles or late Byrds material.  Sean is a major talent just waiting to break.

Keep up with Timmy Sean’s latest musical antics by checking his Facebook and website.

Twelve missing ‘hit singles’ from 2016

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hit-singleIt’s end-of-the-year ‘best of’ list time and we here at Poprock Record wish to join the almost evangelical rush to judgment that accompanies such proceedings, though with a twist.   I mean, who am I to say whose records are the best?  If I put them up on the blog then you already know I think they are pretty great and worthy of Beatlesque adulation.  Still, I do feel like shining an extra light on a few songs that just screamed ‘hit single’ to my 1970s AM radio-trained ears.  So instead of a ‘top ten’ list I’ve assembled a list of twelve ‘missing’ hit singles, songs that would easily top the charts in my alternate poprock universe.

Pulling together my twelve apostles of poprock was not an easy task.  From the full list of songs featured on the blog in 2016 I singled out the ones actually released in this past calendar year – 59 songs in all!  Then reducing that number down to just twelve was painful as there were compelling arguments for keeping any and all of the other 47 as well.  But, in the end, cuts were made until just twelve remained.  They appear in no particular order and the hotlinks take you to the original posts as they appeared on the blog.  These are a dynamite twelve pack, sure proof that melodic rock and roll is far from dead, if somewhat remote from the more conventional charts.

Public Access TV, “On Location”

Red Cabin, “I Can’t Wait”

Twins, “Breaking Up”

TUNS, “Mind Over Matter”

David Brookings and the Average Lookings, “Time to Go”

Chris Staples, “Hepburn in the Summertime”

Steve Ison, “Boy”

Bosco Rogers, “Beach! Beach! Beach!”

Wesley Fuller, “Melvista”

The Rifles, “Wall Around Your Heart”

The Kickstand Band, “Summer Dream”

Purses, “Wheels on the Run”

Check out these bands in more detail on their various webpages.  You find all the links on the original posts.

Hooks for the holidays!

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christmas-tree-1856343_1280It’s almost like somewhere a gargantuan holiday music factory is just pumping them out, songs that are largely indistinguishable from the regular commercial fare but for their obligatory invocation of Santa, mistletoe, and snow.  But buried amongst the dreck are always some well crafted seasonal tunes, if you’re paying attention.  Over the past year I’ve set aside any good holiday material I’ve run across for this very special Hooks for the Holidays blog entry.

nick-loweLet’s begin with that classy poprock elder statesman, Nick Lowe.  Considering he once eschewed the idea of recording a Christmas album as ‘vulgar, tawdry commercialism,’ his finished product is pretty impressive.  Quality Street squeezes subtle hooks out of clever covers and new material.  Though Lowe was once the quintessentially mercurial poprock artist, he has honed a more laid back, almost jazzy crooner sound over his last few albums.  Quality Street continues in this vein.  Check out the instrumental backdrop to Boudleaux Bryant’s classic, “Christmas Can’t Be Far Away” – arranged to perfection like expert miniature painting. Other highlights include Ron Sexmsith’s “Hooves on the Roof” and Lowe’s co-written composition with Ry Cooder, “Dollar Short of Happy” (the lyrics on the latter are hilarious).  A lot of critics like Lowe’s sardonic “Christmas at the Airport” but my faves would have to be the raucous reworking of the traditional “Rise Up Shepherd” and Lowe’s own quietly moving “I was Born in Bethlehem.”Rise Up ShepherdI Was Born in Bethlehem

Cheeky is a not uncommon approach to holiday music, meant to deflate a bit of the earnestness surrounding the whole ‘birth of a saviour’ thing.  And no one flouts overweening sincerity like Jonathan Coulton.  His “Chiron Beta Prime” is the perfect antidote to treacly sentiment, documenting the poor Anderson family’s travails on a robot mining asteroid.  Robot overlords, soylent green pies, and redacted holiday messages: what could be more perfect this year?  On the other hand, we’ve got earnest covered too.  Canadian David Myles is just sooo nice, every mother’s dream date for their respective boy or girl.  “Santa Never Brings Me a Banjo” is lovely tale of disappointed expectations.  Actually, Myles has a whole album of Christmas tunes that is pretty solid.  Check out the wonderful bouncy lead guitar line and jazz vocals on “Sleigh Ride” or the exuberant fun of “It Snowed Last Night.”Chiron Beta Prime

For something a bit different, Franco-American indie hipsters Freedom Fry have a fun rollicking tale with “Oh Santa (Bad World).”  Seems the naughty list has gotten a bit too long and Santa is calling it all off this year.  Forget that empty parental threat to cancel Christmas, this is much bigger – and the live version here sounds just like the recording!  English band Farrah do a nice Paul McCartney re-invention on their 2008 release “Santa Don’t Go.”  Now I’m having a wonderful holiday time.  On the poppier side of poprock, two great singles: Allie Moss’ wistful “God Rest Ye Merry Gentlemen” and Schuyler Fisk’s upbeat and cheery “More Than I Wished For,” which bears the distinctive stamp of Tim Myers’ collaboration.Santa Don’t GoMore Than I Wished For

winterWe began the year with Quiet Company, an amazing band from Texas, so it seems only fitting to fit a few selections from their terrific 2012 seasonal EP, Winter is Coming in here.  This band loves the holiday, as evident from the series of house concerts they are doing throughout their home state this month.  Here you can see they excel at both commercial and traditional Christmas fare, delivering fantastic versions of both “Have Yourself a Merry Little Christmas” and “Angels We Have Heard on High.”

Holiday music focuses us on the better part of our natures at year’s end, an entirely laudable goal.  And while you’re feeling warm and fuzzy, extend that good feeling to Nick Lowe, Jonathan Coulton, David Myles, Freedom Fry, Farrah, Allie Moss, Schuyler Fisk, and Quiet Company electronically via this interweb thingy.

Around the dial: Suzanne Vega, Michael Penn, Aimee Man, Gentle Hen, and Ex Cops

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Time for another trip around the dial with acts that offer something old, something new, or something completely different.

More Suzanne Vega?  This is super new, from her most recently released album, Lover, Beloved: Songs from an Evening with Carson McCullers.  Based initially on a project for art school, Vega developed it into a play featuring herself.  On the whole, the record has a stylized cabaret feel, but for one track which really harkens back to a more familiar Vega sound, the single “We of Me.”  For fans of her distinctive folk pop sound, this song will not disappoint: ringing acoustic guitars, a poetic cadence and a hook that stays in your head.

33394385_800_800Michael Penn launched into the charts in 1989 with his debut album March, largely on the strength of a break out single – “No Myth” – which got to 13 on the Billboard Hot 100.  But three albums later it was pretty clear that his chart success was a bit of a blip, despite turning out consistently strong material.  Still, in 2005, after a five year break, he released the stunning Mr. Hollywood Jr., 1947, an amazing concept album chock full of striking would-be hit singles: “Walter Reed,” “On Automatic,” “A Bad Sign,” and many others.  Still, no chart love.  So he walked away, shifting his considerable creative talents to television and movie soundtracks.  I rue the day somebody lunched him into this decision.  Luckily, the occasional single still emerges from time to time, like “Anchors Aweigh” from volume three of his soundtrack work of the HBO show Girls.  Deceptively simple sounding, resting on a basic acoustic guitar backing track, Penn adds impressive depth and hooks with his vocals and the occasional instrumental flourish.Girls

0a80ee35b9cc53c18cc61c232252e9c0-1000x1000x1Speaking of Penn, his spouse has had a very different response to chart indifference.  Sure, Aimee Mann has done some soundtrack work too, most notably Magnolia in 1999.  But she’s also kept up her solo work and a host of other creative partnerships.  Mann is unique in not only consistently writing great songs, but she has developed her own distinctive songwriting style, something that few performers – the Beatles, Elton John, Elvis Costello – have really managed to do.  “Can’t You Tell” is an original song Mann created for the anti-Trump political project, 30 Days, 30 Songs, narrated from the perspective of Trump himself, basically saying ‘come on folks, you know I don’t really want this job, it’s just my ego at work here …’  The song is not a charity knock off – that is not the way Mann does things.  Instead, “Can’t You Tell” is a solid single, the mark of Mann’s talent that she can just give away such strong material for a one-off project like this.Can’t You Tell

W139Gentle Hen is the brainchild of Henning Ohlenbusch, seemingly the hardest working man in show business this side of Northhampton, Massachusetts.  He is one of those guys who is part of half a dozen bands and collaborates with a half dozen more, while still getting out some solo stuff on the sly.  The Bells on the Boats of the Bay is the debut album from his old band but now under a new name and everything seems to falling into place: fabulous design on the artwork, stellar songwriting, and a great sound.  There are a whole lotta influences going on here: chiming guitars, Ben Vaughn-esque vocal stylings on some numbers, and hooks, hooks, hooks.  “I Don’t Know Anyone Else But” is a strong single featuring a late 1960s British poprock guitar line opening out to lilting melody that shifts tempo to great effect in the chorus.

Some bands do variety in terms of song styles but others just sound like totally different groups.  Ex Cons fall into the latter category.  Some of their more recent work has a cool indie vibe going – definitely check up “Black Soap” and “Pretty Shitty” – but if we go way back to 2012 they were working a decidedly different seam of the poprock scene.  “James” reminds me of Nick Lowe’s immediate post-Rockpile work on albums like Nick the Knife and The Abominable Showman.  Definitely hooks galore!

I haven’t seen the books but I suspect that Suzanne Vega, Michael Penn, Aimee Mann, Gentle Hen and Ex Cons would not be adverse to a visit with your credit card number, in exchange for music or concert tickets.  After all, ’tis the season.

Farrah where are you?

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farrah-4No, not Lee Major’s late ex-wife.  I’m talking about the knock out band from London that put out four albums between 2000 and 2010 and then dropped out of sight.  I discovered Farrah in 2007 when a casual listen of “School Reunion” from that year’s Cut Out and Keep turned me into a big fan.  I loved the over-the-top sweetness of the sentimentality, cut by just a hint of genuine pathos.  The song’s story of a wanna-be musician who takes to the big city but fails could be seen as Farrah’s own story as none of their albums took off in the UK or North America (though, I kid you not, they are actually big in Japan!).  Of course, the band’s decision to blaze a trail as a self-distributing independent group probably limited their exposure as they were arguably too far ahead of the social media curve to made it work.  Still, the band’s catalogue is a success if creating great poprock is the measure.

ljx010_800Farrah’s debut album, Moustache, has a Fountains of Wayne power pop sound with a number of strong tracks like “Terry,” “Living for the Weekend,” and “Talk about Nothing.”  Three years later Me Too seemed to slow things down as the band experimented with slower material like “First and Last,” “Half as Strong,” and their great moody cover of Joe Jackson’s “It’s Different for Girls.”  But for me, it all comes together on Cut Out and Keep, an album that has the band in firm control of their own distinctive sound.  The album shifts effortlessly between uptempo Squeeze-esque numbers like “No Reason Why” or the more FOW sounding “Fear of Flying” to wonderful acoustic songs like “As Soon as I Get Over You” and “Things We Shouldn’t Say.”  They blast the calculation and insincerity of the music business brilliantly on “Dum Dum Ditty.”  I could go on – there really isn’t a weak track on the album.

ljx021_400In 2010 the band released another strong record, the self-titled Farrah, and it was also full of would-be hits.  The hooky “Swings and Roundabouts” was the obvious single but other uptempo highlights include “Stereotypes” and “If You Were Mine.” The album also has quite a few more languid, Beatlesque acoustic numbers like “DNA,” “Wasting Time,” and the wistful “Sleep Above the Covers.”  But my favourite track is banjo-driven story song “Scarborough,” with its spot on rendition of awkward office romance.

Farrah have a webpage and Facebook page, but nothing new has been posted on either for years.  Thus our plaintive blog entry title: ‘Where are you Farrah?’  Come back soon.

Guitar-driven poprock: The Spitfires, Pop Cult, and the Rifles

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Poprock is primarily a guitar-based genre.  Though one definition might define it as the classic rock and roll combo but with an extra accent on melody, that is often accomplished via chiming or ringing electric guitar chords or trebly hooky lead guitar lines.  These bands showcase just how guitar drives the poprock sound.

Everything about The Spitfires’ “So Long” says excitement: from the crunchy opening guitar, to the pumping piano that carries the verses, to the heavily accented vocals that echo a bit of the Jam and Billy Bragg.  This is a killer performance whose intensity just never lets up.  “On My Mind” is another strong track from their debut album, A Thousand Times.  The Spitfires call Watford, Hertfordshire home.

Hailing from Australia’s Sunshine Coast, Pop Cult have a indie vibe going with a pair of singles that would have made a fantastic double A-sided 45 back in the day.  “Feels Right” has a effective combination of pumping piano, spacey guitar and uber-cool rhythmic lurch while “Gotta Keep Lovin’” is driven by hypnotic background vocals and a solid crashing beat.  Both songs exude a Dandy Warhols-like élan, i.e. super catchy and oh so cool.

maxresdefaultThe Rifles are a monumental talent.  Over five albums this east London band has honed sonic influences that include Oasis, the Jam, the Clash and host of other late seventies/early eighties bands into their own distinctive sound.  Early records No Love Lost and Great Escape have a load of great songs like “She’s the Only One” and “The Great Escape” but things really take off for me with 2011’s Freedom Run.  Check out “Long Walk Back” with its textbook perfect opening riff and shimmering vocals that draw you in while the hooks just won’t let go.  Why this song didn’t zoom to the top of the charts is beyond me.  The whole record is strong but the acoustic “Everline” is also a standout track.  Since then two more albums only confirm this band’s strengths as songwriters and performers.  2014’s None the Wiser rocks with “Minute Mile,” a super single, and the lovely “All I Need,” another breezy tuneful acoustic-ish number.  The band’s most recent release is 2016’s Big Life and there is no let up in the quality.  If it were up to me, I would release “Wall Around Your Heart” as the potential hitmaker.Minute MileWall Around Your Heart

The heads up on today’s material came from that mercurial blogging genius, Best Indie Songs.  Make sure to check out his site as you follow up on the Spitfires, Pop Cult, and the Rifles at their own internet locations.

Should be a hit single: Cage the Elephant “Cold Cold Cold”

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0a0b62ad44af0f7f92bed1b757eb8983-960x960x1Though they hail from Bowling Green, Kentucky, Cage the Elephant sound like they are right out 1960s London.  On their most recent album, 2015’s Tell Me I’m Pretty, they’ve got a dirty late Beatles sound going on with “Cry Baby,” a London blues vibe on “Mess Around,” and even psych up the rock and roll on the absurdly-titled “Portuguese Knife Fight.” But the clear hit single for me on this album is the 1960s Rolling Stones ringer “Cold Cold Cold.”  Check out the hyper cool guitar lick opener that draws you in while vocalist Matt Schultz exudes a kind of Jagger-like delivery that is poised and riveting.  The fuzzed out lead guitar break is just the icing on this cake.

Cold Cold Cold

All four of Cage the Elephant’s long players have their own delights, something for all kinds of sixties-influenced rock lovers, but my personal faves include “In One Ear” from the self-titled Cage the Elephant, the single “Back Against the Wall,” “Right Before My Eyes” from Thank You Happy Birthday, and “Come a Little Closer” from Melaphobia.

Keep up with Cage the Elephant on their website and Facebook pages.