Month: February 2024

Fresh New Tracks, Vol. 30 – Ben Gorb, Healer, Morning Fuzz, The Nanners

On By EclecticMusicLoverIn Reviews12 Comments

It’s been a long while since I last published one of my Fresh New Tracks posts (partly due to the fact I quit writing reviews the last three months of 2023), but with so much new music out, I feel it’s time for a new installment. Today, I’m thrilled to present four excellent recently released songs by, in alphabetic order, British singer-songwriter Ben Gorb, British indie rock band Healer, Long Island, New York alt-rock band Morning Fuzz, and Los Angeles psychedelic indie rock duo The Nanners. I’ve previously written about Healer and Morning Fuzz, whereas Ben Gorb and The Nanners are new to me.

BEN GORB – “Brand New Day”

Photo by Alistair Mac

Ben Gorb is an affable, talented, and very tall singer-songwriter from Manchester, England who, in his early teens, developed a passion for the classic rock of such artists as Jimi Hendrix, The Who and AC/DC that prompted him to take up the guitar. He’s been recording and releasing music since 2014 when he was in his early 20s, and his output since then includes numerous singles, EPs and two albums, Reflections in 2020 and Burning Light in 2021. I like his pleasing, high-energy rock sound, plus he’s also a cat lover, which warms my cat-loving heart! He’s earned quite a following by performing throughout the Northwest and Midlands regions of the UK, both as a solo artist and with his band consisting of Jake Preistley on rhythm guitar, Joseph Shaw on bass and Josh Savage on drums.

He recently reached out to me with his latest single “Brand New Day“, which was released February 20th. He wrote the song, sings lead vocals and plays lead guitar, backed by his aforementioned band members. It’s a rousing kiss-off song addressed to a romantic partner who he tells in no uncertain terms that he’s done with the fights and her putting him down, and that he’s freeing himself of their five-year-long relationship once and for all: “Here I go, I’m on the run. Like a fox from a gun I’ll be gone. I don’t care what you think, I don’t care you say. The future’s mine, it’s the start of a brand new day.” I love the superb guitar work that really channels AC/DC, the tight rhythms, and Ben’s colorful vocals, backed by the guys’ wonderful harmonies.

Follow Ben: Facebook / X (Twitter) / Instagram / TikTok

HEALER – “Wake Me Up”

Photo by Misha Warren

HEALER is a five-piece alternative indie rock band based in Grimsby, England, comprised of Steve (lead vocals), Kirk (guitar), Dave (guitar), Tony (bass), and Jazz (drums). Formed in 2022, they’ve already built a strong following in the local music scene on the strength of their outstanding songs and riveting live performances, as well as garnering recognition and airplay on BBC Music Introducing and Amazing Radio UK/USA. Since the release of their debut single “Hurricane” in December 2022, the busy guys have followed with six more singles, one of which, “Bones“, I featured in a Fresh New Tracks post last May. The gorgeous song spent three months on my weekly top 30 and ranks #67 on my 100 Best Songs of 2023 list.

Their latest single “Wake Me Up”, released on February 2nd, is an anthemic rock banger, fueled by roiling guitars and driving rhythms. I must say that I love Steve’s distinctive singing voice that make’s HEALER’s songs immediately identifiable as theirs and no one else’s. About the song, the band explains “’Wake Me Up’ is a song about growing up, it’s about realising how much time you have wasted and hoping it’s not too late to stop the free spirit lifestyle and finally wake up. It also references the noise of the internet, visual media and how life can become one big blur and we sometimes need to wake up and smell the roses.” The imaginative video, which was filmed and edited by Misha Warren, shows a young boy played by Cole Ellis, sitting transfixed as he watches a wall of TV and video screens while wearing a spacesuit, juxtaposed with scenes of HEALER performing the song in a garage amid a bunch of vintage portable TVs.

Follow HEALER: Facebook / X (Twitter) / Instagram / TikTok

MORNING FUZZ – “New Moon”

Morning Fuzz is an exceptional band from Long Island, New York formed in 2009, and now comprised of singer/songwriter & guitarist Frank Fussa, bassist Chris Johanidesz, guitarist Michael Cullari and drummer Dan Leonardi. All are outstanding musicians, and together they make highly accessible rock they describe as “fun, bouncy guitar pop, happily shading in the intersections of the Venn diagram where mainstream pop and alternative music meet“, characterized by memorable melodies, ace instrumentation and intelligent lyrics delivered with Fussa’s commanding vocals. Though their musical output has sometimes been sporadic, over the past 15 years they’ve released two EPs, two albums, Chasing Ghosts in 2009 and Wherever We Go (which I reviewed) in 2023, and numerous singles, two of which, “Silent Sun” and “I’ll Be Around” I also reviewed. “Silent Sun” went on to rank #69 on my 100 Best Songs of 2017 list, while “I’ll Be Around” ranks #71 on my 100 Best Songs of 2019 list.

On February 23rd, Morning Fuzz dropped their latest single “New Moon“, the second of two B-Side tracks that didn’t make the final cut of Wherever We Go, but they still wanted to put out into the world. I’m glad they did, as it’s a great song, featuring the band’s signature electrifying guitar work, throbbing bass lines and thumping drumbeats we’ve come to love and expect. I also like that all four band members sing, with Chris, Michael and Dan’s backing harmonies beautifully complementing Frank’s raw, impassioned vocals. The lyrics, which feature quite a bit of earth and celestial metaphors, seem to address a troubled relationship where the singer has checked out emotionally, but chooses to hang on with a remaining thread of hope: “This is the part where I fall, but I just keep hanging on until I can’t feel anymore. I’ll hang around for a while. There’s not a bone to pick; I’ve already gone through the whole pile./ Everyone’s here for the good times, but I stick around for the bad times. Wherever there’s dusk, there’s a sunrise.”

Follow Morning Fuzz:  Facebook / X (Twitter) / Instagram / TikTok

THE NANNERS – “New Pony”

Last, but certainly not least, I bring you The Nanners, the wonderfully zany L.A.-based music project of Nicholas Ewing and Thomas Ferraiuolo. From what I can tell, they officially formed last fall (of 2023), and have this to say about themselves: “Welcome to Banana World, where love, curiosity, angst, and nebulous speculations are explored through the lens of two meek and socially awkward grown men in banana costumes.” And while at first glance they might appear to be some kind of weird novelty act, they are in fact fine musicians and songwriters who also happen to be both hilarious and charming. Their pleasing sound is a happy mix of indie rock, psychedelia and dream pop, and I love it.

The duo released their delightful debut single “Sweet Tooth” in December, for which they had their own signature soft drink created, describing it as “the result of 6 years of food science and rigorous flavor profile testing. The ingredients are rare, illegal, and hardly FDA approved. Because they’re so good!” On February 7th, they dropped their second single “New Pony“, an equally delightful song about relaxing at a magical airbnb in the Mojave Desert with unlimited towels. To a mellow groove overlain with gently strummed jangly guitars and delicate sparkling synths, the guys croon in their soothing harmonies: “We’ll bring you more towels and immortality. Check out when you want, it’s a loose policy. We can help you find anything you need in the folds of time, just like magic. I wanna get pampered with you. Bananas get pampered too.” The farcical but sweet video for the song, showing the guys enjoying life and letting loose, was filmed at an actual airbnb in Joshua Tree, about an hour from where I live in the Coachella Valley. You’re in for a treat!

Follow The Nanners: X (Twitter) / Instagram / TikTok

DAVID OAKES – Album Review: “Prosthetic Soul”

On By EclecticMusicLoverIn Reviews11 Comments

Hailing from the southwest coast of Wales, David Oakes is an imaginative and prolific musician and composer of electronic alternative rock music. Strongly influenced by his love of such acts as Dream Theater, Mastodon, Metallica, Therapy?, Green Day and Smashing Pumpkins, his musical output ranges from gentle synth-driven compositions to aggressive guitar-driven hard rock, though his last several works have trended toward the latter. I really like his music and have featured him on this blog many times over the past eight years (you can read some of those reviews by clicking on the links under “Related” at the end of this post).

David’s been actively involved in making music since his late teens, when he started playing in various bands. From 2001-06, he and his younger brother were members of the rock band KOTOW, for which he played drums. He went on to study guitar and music theory at the Academy of Contemporary Music in Guildford, England from 2009-12, after which he began composing music as a solo artist, all of which he records and produces himself in his little home studio setup. This drum kit is his pride and joy!

He released his first album The Juggernaut in 2014, and in the years since, has recorded and released an astonishing eleven more albums, the latest of which is Prosthetic Soul, which he released on Bandcamp on February 16th. His first new album in two years, Prosthetic Soul serves up 28 minutes of superb psychedelia-tinged melodic instrumental rock, featuring many of David’s signature electronic and guitar-heavy elements we’ve come to love and expect. But here he’s pushed himself even further, experimenting with new sounds and instrumental techniques, along with what seems to be an even greater emphasis on industrial elements employed by bands like Nine Inch Nails, Rammstein, Dream Theater and Depeche Mode.

Album opener “Minus One” starts off with distant sounds of super-gnarly guitars, which are soon joined by a mix of spooky industrial synths, heavy, razor-sharp percussion and jagged guitar notes layered over an ominous droning synth bass groove. The track immediately segues into “Super Zero”, and we’re off to the races. Though only 1:49 minutes long, the track packs a powerful punch, beginning as a mysterious soundscape of wobbly synths, then exploding into a furious maelstrom of raging grungy guitars and crushing drumbeats.

“The Future Has Begun” is a bit of a musical tour de force, beginning gently with eerie pulsating synths accompanied by a somber piano movement. Forty seconds in, the music abruptly transitions to a rapid barrage of raging guitars and thunderous percussion before calming back down at roughly two and a half minutes to a lovely introspective interlude. Seeming to end at around three minutes, those raging guitars suddenly come roaring back for the next 30 seconds before fading out.

With it’s glitchy sci-fi vibe, infused with both Western and Middle Eastern touches soaked in reverb, the appropriately titled “Dust” would be a perfect fit on the soundtrack for an installment of the Dune film franchise. And David’s skills on guitar and drums are on full display on the marvelous title track “Prosthetic Soul”, as he unleashes a furious onslaught of blistering riffs while beating the hell out of his drum kit. It’s one of my favorite tracks on the album.

“The Dissociation Suite Parts I and II” are a rather intense but melodic couplet, with lots of great keyboards that work quite well with the twangy and grungy guitars that build to a wailing solo toward the end. Living up to its title, “The Reality Bomb” is a glorious little blast of atomic energy, with swirling distorted guitars layered over a grinding bassline, fortified with smashing drumbeats. Halfway into the song, the music calms down to a darkly beautiful interlude of haunting synths, harsh percussion and bewitching stummed guitar notes before exploding into a brief raging torrent in the finale.

“Dirt…” seems to pick back up where “Dust” left off, with more of those mysterious and glitchy sci-fi vibes, only this time accompanied by some really marvelous twangy guitars. The final track is the original version of “The Dissociation Suite Part II”, which David has designated a Bonus Track. To my untrained ear, it sounds fairly similar to the final version, except with a longer lead-in and not quite as many synth flourishes.

Prosthetic Soul is another stellar album by David that ranks among his finest works. It nicely showcases his continued growth as both a composer and musician.

Follow David on Instagram 

Find his music on Bandcamp / Spotify / Apple Music / Soundcloud

Top 30 Songs for February 25-March 2, 2024

On By EclecticMusicLoverIn Weekly Top 30's14 Comments

It was only a matter of time before The Black Keys reached the top spot on my weekly chart with their infectiously upbeat single “Beautiful People (Stay High)”. I’m a long-time fan of the duo, comprised of guitarist-vocalist Dan Auerbach and drummer Patrick Carney, and the song clicked with me the first time I heard it. I love its exuberant melody, bluesy, foot-stomping groove and celebratory chorus. The lead single from their forthcoming twelfth studio album Ohio Players, due for release April 5th, the song was co-written with their longtime collaborators Beck and producer Dan the Automator (aka Daniel M. Nakamura). In a press statement about the recording of the album, Auerbach noted “We’d never worked harder to make a record. It’s never taken us this long to make an album. We took our time and did it right.” Carney added “What we wanted to accomplish with this record was make something that was fun. And something that most bands 20 years into their career don’t make, which is an approachable, fun record that is also cool.” (Pitchfork)

The wonderful video, directed by Chris Saunders, produced by Elizabeth Silver and choreographed by Natalie Fisher, is reminiscent of the ones created for Pharrell Williams’ massive 2014 hit “Happy”, featuring a wide cross-section of people of all ages and ethnicities joyously dancing to the song in various settings.

In other chart developments, the delightful jangle pop gem “My Golden Years” by The Lemon Twigs, climbs another six spots this week to enter the top 10 at #10. Making their debut are “Dilemma” by Green Day, from their latest album Saviors, at #29 (giving them two songs on this chart), and the gospel-like “Good People”, an interesting collaboration between British folk-rock band Mumford & Sons and the aforementioned American singer-songwriter and producer Pharrell Williams. at #30.

  1. BEAUTIFUL PEOPLE (STAY HIGH) – The Black Keys (2)
  2. NORTHERN ATTITUDE – Noah Kahan feat. Hozier (1)
  3. NEON PILL – Cage the Elephant (4)
  4. LOSE CONTROL – Teddy Swims (3)
  5. BLAME BRETT – The Beaches (7)
  6. WINTER COWBOY – Frank Joshua (8)
  7. THE TOWER – Future Islands (9)
  8. MOTHER NATURE – MGMT (10)
  9. ALIVE! – Bakar (11)
  10. MY GOLDEN YEARS – The Lemon Twigs (16)
  11. LOVIN ON ME – Jack Harlow (13)
  12. ALL I DIE FOR – SWiiMS (5)
  13. NOTHING MATTERS – The Last Dinner Party (6)
  14. NICE TO KNOW YOU – lovelytheband (17)
  15. YOUR WORLD NOW – Marc Schuster (18)
  16. NORMAL PEOPLE THINGS – Lovejoy (19)
  17. MEANT TO BE – Wilco (20)
  18. BLUSH – Vazum (21)
  19. LUNAR ECLIPSE – The Vaccines (22)
  20. DIAMOND AND THE MISSING SON – Unquiet Nights (23)
  21. MODERN GIRL – Bleachers (12)
  22. THE AMERICAN DREAM IS KILLING ME – Green Day (14)
  23. WHAT NOW – Brittany Howard (15)
  24. BICYCLE AWAY – Sam Rappaport (26)
  25. KOOL AID BLUE – The Sylvia Platters (27)
  26. I’M IN LOVE – Jelani Aryeh (28)
  27. FIND MY WAY – Ships Have Sailed (29)
  28. EVERYTHING WE NEED – Mojave Grey (30)
  29. DILEMMA – Green Day (N)
  30. GOOD PEOPLE – Mumford & Sons, Pharrell Williams (N)

FRANK JOSHUA – Single Review: “On This Night”

On By EclecticMusicLoverIn Reviews9 Comments

Over the past year, London-based Frank Joshua – a rather enigmatic yet enormously talented singer-songwriter and producer who, wanting his music to speak for itself, shares no photos of himself – has become a favorite of mine on the strength of his beautiful baritone voice and beguiling music style. It’s no exaggeration for me to say that Mr. Joshua has one of the most enthralling singing voices I’ve heard in a long while, and I was blown away the moment I first heard his music. His lush, vibrant vocals are soothing and warm in the vein of crooners like Michael Bublé or Michael Feinstein, only better in my opinion. Despite his wish to remain somewhat anonymous, it hasn’t kept him from engaging with his fans on social media and showing genuine appreciation toward them. He’s been particularly supportive of me, which makes me more than happy to support him in return.

The prolific artist has released a staggering amount of music over the past three years or so, including two albums and numerous singles, all of which have been exceptional. Every one of his songs is a captivating feast for the ears. I’ve previously written about two of them, the lovely “Bluebell Wood”, which spent three months on my Weekly Top 30 and ranks #53 on my 100 Best Songs of 2023 list, and “Patent Leather Car”, a breezy tune Frank said is about “feelings of fear and love, and finding solace in something you know probably isn’t good for you.” His enchanting single “Winter Cowboy” is currently enjoying a long run on my Top 30, where it currently sits at #8.

On February 16th, he dropped his 32nd single “On This Night“, yet another outstanding track released via Numen Records. Although Frank writes some of his songs, like the majority of his singles, “On This Night” was written by his frequent collaborator Simon Pitheakley, and produced by Tony White. The song, along with several of his recently released singles, will be included on his forthcoming third album Turn To Your Soul, planned for release in April.

The song opens with ambient sounds of wind or perhaps the distant rumbling of a subway, accompanied by sirens, creating a foreboding sense of danger. This is soon joined by gentle thumping beats, wispy atmospheric synths and somber piano keys as Frank begins to sing of searching for guidance that might help him find peace of mind and his sense of purpose in this world: “On knees in the outback. Open hearted for cross check. Praying for purpose, needing a voice on this night. Deep in this night.” The music gradually builds into a dramatic soundscape of glittery piano keys, crisp percussion and soaring cinematic synths, as Frank’s vocals grow more impassioned in the choruses, expressing a fervent sense of desperation and pain I’ve not heard from him in any of his previous songs.

It’s a gorgeous, dark and impactful song that immediately ranks among my favorite of his many great songs.

Giving something and nothing
Giving faith and nothing
When skies turn to seas
Turn to oceans
Skies turn to oceans

On knees in the outback
Open hearted for cross check
Praying for purpose
Needing a voice
On this night
Deep in this night

And if it pleases this mortal
For all his falter
Is pleading for guidance
Is trying for peace
In this night
Peace in this night

Of mind in this distance
Should it please your indifference
Would love to be shown the path of your choice
In this night
Deep in this night

And for all this muddle
And to give in his struggle
His heart would believe if you’d give him the choice
In this night
Deep in this night

Though the eye’s full of trouble
Of a simplistic struggle
A truer devotee could not be found
On this night
Deep in this night

Let him bleed forever
If the bleeding’s essential
If hurting may heal
His eternal fight
On this night
Deep in this night

The beautiful video, produced by Italian filmmaker Diego Monfredini, features scenes of a dire medical emergency set amidst a world of glittering nightlife in a dense urban environment, skillfully conveying the contrasting sense of danger and beauty of the night, where every emotion and experience seem heightened in one way or another. Sexual attraction and romantic desires feel more intense, and entertainment in all its forms, be it the theater, movies, music concerts, gambling, etc., seem more enjoyable (perhaps due in part from higher consumption of alcohol or other mind-altering substances), whereas our worst fears and worries feel more burdensome and intractable, emergencies more calamitous, and the unfamiliar or unknown more ominous and threatening under the cover of darkness.

Connect with Frank:  Facebook / X(Twitter) / Instagram 

Find his music on Spotify / Apple Music / Bandcamp / Soundcloud / YouTube / Reverbnation

Top 30 Songs for February 18-24, 2024

On By EclecticMusicLoverIn Weekly Top 30's4 Comments

There’s so much great music out now that it pains me to have to limit this week’s chart to only 30 songs. The gorgeous duet “Northern Attitude” by Noah Kahan and Hozier holds onto the top spot for a second week, while The Black Keys‘ “Beautiful People (Stay High)” moves up two spots to #2. The biggest upward mover again this week is “Neon Pill” by Cage the Elephant, leaping 10 spots to #4, and entering the top 10 are “The Tower” by Future Islands and “Mother Nature” by MGMT. Another big upward mover this week is the delightful “My Golden Years” by The Lemon Twigs, jumping six spots to #16.

Three stupendous songs make their debut this week. The first, entering at #28, is “I’m in Love” by Jelani Aryeh, a remarkably talented young Filipino/African-American singer and songwriter from San Diego I recently learned about from fellow blogger K.F. Hartless (who has a wonderful blog Yard Sale of Thoughts, in which she pairs her outstanding poetry with specially selected songs). Aryeh’s music is a glorious blend of indie rock, R&B, hip-hop, pop and experimental sounds, and I fell in love with his infectious song the moment I heard it. The second debut, coming in at #29, is the heartwarming “Find My Way” by L.A.-based duo Ships Have Sailed (which I reviewed last month). It’s their sixth song to appear in my Top 30. Finally, we have “Everything We Need” by Southern California duo Mojave Grey, entering at #30. Based in Joshua Tree and consisting of Zander Bleck and Michael Pozzi, they play a captivating and sophisticated style of electronic music they call Desert Minimal Rock, drawing inspiration from such electronic dance acts as RÜFÜS DU SOL and Bob Moses.

  1. NORTHERN ATTITUDE – Noah Kahan feat. Hozier (1)
  2. BEAUTIFUL PEOPLE (STAY HIGH) – The Black Keys (4)
  3. LOSE CONTROL – Teddy Swims (2)
  4. NEON PILL – Cage the Elephant (14)
  5. ALL I DIE FOR – SWiiMS (3)
  6. NOTHING MATTERS – The Last Dinner Party (6)
  7. BLAME BRETT – The Beaches (9)
  8. WINTER COWBOY – Frank Joshua (10)
  9. THE TOWER – Future Islands (11)
  10. MOTHER NATURE – MGMT (12)
  11. ALIVE! – Bakar (13)
  12. MODERN GIRL – Bleachers (7)
  13. LOVIN ON ME – Jack Harlow (15)
  14. THE AMERICAN DREAM IS KILLING ME – Green Day (5)
  15. WHAT NOW – Brittany Howard (8)
  16. MY GOLDEN YEARS – The Lemon Twigs (22)
  17. NICE TO KNOW YOU – lovelytheband (18)
  18. YOUR WORLD NOW – Marc Schuster (19)
  19. NORMAL PEOPLE THINGS – Lovejoy (20)
  20. MEANT TO BE – Wilco (21)
  21. BLUSH – Vazum (25)
  22. LUNAR ECLIPSE – The Vaccines (26)
  23. DIAMOND AND THE MISSING SON – Unquiet Nights (27)
  24. COOL ABOUT IT – boygenius (16)
  25. MY LOVE MINE ALL MINE – Mitski (17)
  26. BICYCLE AWAY – Sam Rappaport (29)
  27. KOOL AID BLUE – The Sylvia Platters (30)
  28. I’M IN LOVE – Jelani Aryeh (N)
  29. FIND MY WAY – Ships Have Sailed (N)
  30. EVERYTHING WE NEED – Mojave Grey (N)

FRUITZ – Single Review: “Man On Fire”

On By EclecticMusicLoverIn Reviews14 Comments

Today I’m pleased to present an act that’s new to me – Dublin, Ireland-based indie rock band Fruitz. Originally formed as a four-piece in late 2017, they quickly established themselves as one of Ireland’s most exciting live bands, and in 2018, released their marvelous grungy debut single “Knotz”. They followed a year later with “U&I” and “Girl Around the Corner”, then “Daydream” in January 2020. We all know what happened next, but the band used their down time to record new music, dropping more singles and their excellent EP The Pits and the Glamour, in 2021. During that time, they also reduced down to a trio consisting of James Keegan on guitar and lead vocals, Adam Whelehan on bass and backing vocals, and Jacqueline Campion on drums. From what I’ve been able to determine from their various social media accounts, Campion eventually left the band, and by early 2023, they became a duo consisting of Keegan and Whelehan.

James Keegan and Adam Whelehan

In May 2023, they came roaring back with their beguiling single “Visions of You”, and now return with a terrific new single “Man On Fire“, which dropped yesterday, February 16th. For the recording of the single, the guys rejoined forces with engineer Cian Synnott, who they’d previously worked with on their debut EP The Pits and the Glamour and the single “Visions of You”.

About “Man On Fire”, Keegan explains “This is a statement release from us; it is the start of a new chapter for Fruitz. ‘Man On Fire’ is a perfect example of our sound and our vision. It’s a fairly old tune now; I wrote this in 2020 the day after we supported Louis Berry. ‘The tune actually came from the name of the tour he announced that day, ‘The Man On Fire Tour’, and it kind of just stuck. Musically as well you may hear his influence. The timing to release this song just felt right, it’s a proper indie banger.” Whelehan adds: “This new song encapsulates lively rock guitar sounds, Punchy bass lines and a driving drum progression.“

The guys get right down to business, as the song charges through the gate with a barrage of roiling guitars, humming bass and smashing drumbeats. Keegan’s layered guitar work is outstanding as he delivers an exhilarating mix of beautiful twangy notes and soaring reverb-soaked riffs that give the song a strong Kings of Leon vibe. Throughout, Whelehan keeps the driving rhythm moving forward with an intricate but powerful bass line, accompanied by thunderous percussion that never lets up. Keegan has an arresting singing voice that’s perfectly suited to the dynamic instrumentation, as he fervently sings of struggling to figure out where he stands with a woman he’s strongly attracted to. It’s a proper banger indeed!

Connect with Fruitz:  Facebook / X (Twitter) / Instagram

Find their music on Spotify / Apple Music / Amazon Music / YouTube

THE HEADS UP – EP Review: “So Obvious”

On By EclecticMusicLoverIn Reviews4 Comments

Though Chicago-based power pop trio The Heads Up officially formed in the summer of 2022, its roots go back nearly two decades earlier, when Jack Ruggiero and James O’Connor began playing music together at the age of 13 while still in middle school. Now in their early 30s and wanting to become a serious band, they enlisted the help of their friend Colin Dill and The Heads Up was born, with Ruggiero on guitars, lead vocals and backing instruments, O’Connor on bass and Dill on drums. Dill also plays drums for rock band The Million Reasons (who I’ve previously written about on this blog), as well as cover band Dad’s Night Out.

Jack, Colin & James

Influenced by acts ranging from Vampire Weekend to the Police to R.E.M., Ruggiero says their aim is to play energetic live songs that are both catchy enough so people at a bar could sing along and enjoy, even if they were hearing them for the first time, yet still interesting enough that they wouldn’t be bored by the simplicity. “The idea is to let loose, have fun and make it memorable” – all worthy goals in my book!

They released their debut EP Eponymous! on December 29th, featuring three delightfully catchy tracks that most assuredly achieved their mission. Now, only seven weeks later, they return with a second EP So Obvious, once again featuring three great tracks dealing with relationships that have run their course.

Things kick off with the title track “So Obvious”, and the Vampire Weekend influences are quickly apparent as our ears are treated to a colorful flourish of Ruggiero’s plucked, twangy and shredded guitars, accompanied by O’Connor’s funky bassline and Dill’s rapid, thumping drumbeats. The song has an enthusiastic, high-energy vibe, in sharp contrast with the more serious lyrics about an unpleasant person who’s highly judgmental of others yet cannot handle criticism of her many shortcomings, and always playing the victim to get her way: “Never understated. Constantly degrading. You’re always gonna get your way / Well you weaponized your pride it’s so insidious. The Hermès on your wrists a bit oblivious. And you know you’re gonna play that part again, yes you know you’re gonna play that part again. Oh you’re gonna play that part again, it’s so obvious.“

“Sour Grapes” opens with Dill’s emphatic drumbeats, which are soon joined by Ruggiero’s stabbing guitar before things settle into an upbeat and pleasing cadence in the verses, punctuated with sweet twangy guitar notes. Though it runs only 3:12 minutes, the song is a musical tour de force, with multiple tempo changeups, highlighted by some brilliant little guitar solos and drum flourishes. Ruggiero’s animated vocals are terrific, rising and falling with the music as he tells a romantic partner he’s done with her: “Shove me out the way. I will not complain. Lying lonely sad and sober. Me at the buffet, eating sour grapes. Really I’m so glad it’s over.”

And on “Alright”, Ruggiero confronts someone in denial about a negative situation: “Never understood when you said it’ll be alright. So I never trust a word when you say it’ll be alright. Just a bit disturbed that you said it’ll be alright. When you knew it never would but you said it’ll be alright.” I love the song’s lively, almost frantic groove, punctuated by swirling guitars, thumping bass and smashing drums.

So Obvious is a terrific little EP, and despite its rather bleak subject matter, it’s a fun, light-hearted romp from start to finish. I’m really enjoying the two EPs released thus far by The Heads Up, and can’t wait to hear what they have up their collective sleeves.

And here’s the EP on YouTube:

The Heads Up will be performing their new songs at Snüzfest this Saturday night, February 17th at the Beat Kitchen Bar in Chicago. Get your tickets here.

Follow The Heads Up on Instagram

Find their music on Spotify / Apple Music / Amazon Music / YouTube

OLI BARTON – Single Review: “It’s Over Now”

On By EclecticMusicLoverIn Reviews6 Comments
Photo by Alice Denny

Based in South London, England, Oli Barton is a wildly creative and exceptionally talented singer-songwriter, not to mention a dangerously charismatic charmer. Though I’m sorry to say I’ve never had the pleasure of seeing him perform live (him being in the UK and me 5,500 miles away in Southern California), he’s gained a reputation for his wild, uninhibited live shows that Reyt Good Magazine describes as “straight from indie heaven”. Barton has supported such acts as Kid Kapichi, Baxter Dury and Starsailor.

I’ve been following him for seven years, both as front man of his backing band the Movement, and now as a solo artist, and have featured him many times on this blog. (You can read some of those reviews by clicking on the ‘Related’ links at the end of this post.) His eccentric yet sophisticated style of alternative rock is a colorful mix of post-punk and psychedelia, fortified with touches of funk, grunge and pop, and I can state without exaggeration that I’ve loved every single one of his songs. Five of them have appeared on my Weekly Top 30 charts – the provocative 2017 single “Kinky”, which went all the way to #1, as well as “44”, “Martyr”, “Just Like Always” and, most recently, “Paid Off”, all of which reached the top 5.

It’s always a good day when Barton releases new music, and I’m thrilled to present his latest single “It’s Over Now“, released today via Coke & Dagger Records. For the song’s recording, Barton was joined by Jamal Aggoun on guitar, Marco Fuzz Paone on bass and Josh Needham on drums. Produced by Alex O’ Donovan (Sea Girls) and mixed by Cenzo Townshend (Inhaler), the song is an exuberant piece of indie-pop ear candy, with a lively blend of crunchy and shimmery guitars, fortified by deep thumping bass and propulsive drumbeats layered over a rousing, infectious groove. Or, to put it more simply, this song fucking rocks!

I always love Barton’s distinctive, resonant singing voice and rich accent, which he uses to full effect here as he plaintively implores to a romantic partner, asking if what they once shared is truly over, or if there’s still any chance of reconciliation: “Would you say that it’s over now, or should I wait? Would you say that it’s over now, is it too late? Should I stay?”

About the song, Barton says, “it’s in the whole world of teenage heartbreak and social media; the way that jealousy gets inside us and really makes us into a whole different person and perhaps distorts the decisions we make“, which he nicely articulates in the lyrics “So now I’m spending night times tracking down precise times. I’m addicted to my screen. I see you follow him and you follow her, and it all just seems so clean. But then you drop a like, and well it don’t seem right, and I’ll just sit there green.” 

Single artwork by Sam Crowston.

Follow Oli Barton:  Facebook / X (Twitter) / Instagram / TikTok

Find his music on Spotify / Apple Music / Amazon Music / YouTube

EML’s Favorite Songs: “Until You Come Back to Me (That’s What I’m Gonna Do)” by Aretha Franklin

On By EclecticMusicLoverIn Favorite Songs20 Comments

This morning, I read a post about Aretha Franklin’s cover of “Spanish Harlem” by my fellow blogger Randy (who writes a terrific blog Mostly Music Covers), and it made me realize that I’ve never written about the legendary Queen of Soul on this blog. I’ve decided to remedy that sorry situation by featuring my all-time favorite Aretha Franklin song, “Until You Come Back to Me (That’s What I’m Gonna Do)“. 

The song was written by Morris Broadnax, Clarence Paul, and Stevie Wonder and originally recorded by Wonder in 1967, however, his version was never released as a single and did not appear on an album until his 1977 anthology Looking Back. Franklin recorded the song in 1973, backed by Atlantic Records session musicians known as the Arif Mardin Orchestra (Mardin was a VP and producer at Atlantic from 1963-2001), one of whom was the late, great Donny Hathaway, on electric piano.

“Until You Come Back to Me (That’s What I’m Gonna Do)” was released in November 1973, and later included on her 20th studio album Let Me in Your Life. It became a big hit for Franklin, reaching #1 on the Billboard R&B chart and #3 on Hot 100 chart in early 1974. It ultimately ranked #11 on Billboard’s year-end list for 1974, and #4 on mine.

I was a nerdy 19-year-old when the song came out, and it was love at first listen. I adore that opening piano riff, the wonderful lilting flute and exuberant, breezy melody. Franklin’s vocals are marvelous, going from a pensive croon to passionate wail as she sings of missing her man and desperately wanting him to come back to her. I bought a lot of 45 singles back then, so of course had to have this in my collection. I still have my copy 50 years later:

Though you don’t call anymore
I sit and wait in vain
I guess I’ll rap on your door (Your door)
Tap on your window pane (Tap on your window pane)
I wanna tell you, baby
Changes I’ve been going through
Missing you, listen you

‘Til you come back to me that’s what I’m gonna do

Why did you have to decide
You had to set me free?
I’m gonna swallow my pride (My pride)
I’m gonna beg you to please, baby please see me (Baby, won’t you see me?)
I’m gonna walk by myself
Just to prove that my love is true, all for you baby

‘Til you come back to me that’s what I’m gonna do

Living for you, my dear
Is like living in a world of constant fear
Hear my plea (Hear my plea)
I’ve gotta make you see (Make you see)
That our love is dying (Our love is dying)

Although your phone you ignore
Somehow I must, somehow I must, somehow I must explain
I’m gonna rap on your door (Your door)
Tap on your window pane (Tap on your window pane)
I’m gonna camp by your steps
Until I get through to you
I’ve got to change your view, baby

‘Til you come back to me that’s what I’m gonna do

‘Til you come back to me that’s what I’m gonna do

‘Til you come back to me that’s what I’m gonna do

I’m gonna rap on your door (Tap on)
Tap on your window pane (Tap on)
Open out baby, I’m gonna rap on your door (Tap on)
Tap on your, tap on your (Tap on)
Tap on your, tap on your window pane (Tap on your window pane)

Top 30 Songs for February 11-17, 2024

On By EclecticMusicLoverIn Weekly Top 30's12 Comments

Over the past year, Vermont-based singer-songwriter Noah Kahan exploded onto the music scene after seven years in the business on the strength of his third album Stick Season. Thus far, the album has generated three hits, including the title track, “Dial Drunk” and “Northern Attitude”. Written during the COVID-19 pandemic, Kahan describes the album as a “love letter to New England.” “Northern Attitude”, which he co-wrote with producer Gabe Simon, addresses what he calls his “northern attitude”, the stereotypical perception that folks from Northern New England can be reserved or even a bit cold, thanks to the “harsh winters that toughen up the locals, with the added challenge of enduring long dark New England nights”.

Kahan teamed up with Irish singer-songwriter Hozier to release a new version of “Northern Attitude” on November 10, 2023, and it’s a match made in heaven! According to Songfacts, the two got to know each other when they both performed at the Iron Blossom Festival at Monroe Park in Richmond, Virginia, in late August 2023, and first performed this song together during a show in Nashville in October. Kahan was thrilled with the harmony Hozier brought to the chorus. “That song was recorded so quickly that we didn’t really have a ton of time or the ability, really, to go back and change a lot of it,” he explained to American Songwriter. “So having the harmony there kind of filled it out a lot. In some ways I feel like his voice lends itself to a specific feeling that maybe mine didn’t. Like, it’s more tender and forgiving in some parts but also more powerful and angry.“

It’s an exuberant Americana song in the style of early Mumford and Sons, and I just love that vibrant banjo and the guys’ gorgeous soaring harmonies. The song has spent several weeks at #1 on the Billboard Adult Alternative Airplay chart and is now #1 on mine.

In other chart developments, “Beautiful People (Stay High)” by The Black Keys climbs four spots to #4, the defiantly boisterous “Blame Brett” by Toronto-based indie rock band The Beaches (which is based on the breakup of lead singer Jordan Miller and Brett Emmons from The Glorious Sons) and the hauntingly beautiful “Winter Cowboy” by English singer-songwriter Frank Joshua enter the top 10. The biggest upward mover this week is “Neon Pill” by Cage the Elephant, leaping 15 spots to #14. Making their debut are two songs I recently reviewed: “Bicycle Away” by Brooklyn, New York-based singer-songwriter Sam Rappaport, his third song to appear on my Weekly Top 30, and “Kool Aid Blue” by wonderfully-named Vancouver, Canada-based jangle pop band The Sylvia Platters.

  1. NORTHERN ATTITUDE – Noah Kahan feat. Hozier (4)
  2. LOSE CONTROL – Teddy Swims (1)
  3. ALL I DIE FOR – SWiiMS (2)
  4. BEAUTIFUL PEOPLE (STAY HIGH) – The Black Keys (8)
  5. THE AMERICAN DREAM IS KILLING ME – Green Day (3)
  6. NOTHING MATTERS – The Last Dinner Party (7)
  7. MODERN GIRL – Bleachers (6)
  8. WHAT NOW – Brittany Howard (5)
  9. BLAME BRETT – The Beaches (11)
  10. WINTER COWBOY – Frank Joshua (12)
  11. THE TOWER – Future Islands (13)
  12. MOTHER NATURE – MGMT (15)
  13. ALIVE! – Bakar (14)
  14. NEON PILL – Cage the Elephant (29)
  15. LOVIN ON ME – Jack Harlow (16)
  16. COOL ABOUT IT – boygenius (9)
  17. MY LOVE MINE ALL MINE – Mitski (10)
  18. NICE TO KNOW YOU – lovelytheband (22)
  19. YOUR WORLD NOW – Marc Schuster (23)
  20. NORMAL PEOPLE THINGS – Lovejoy (24)
  21. MEANT TO BE – Wilco (25)
  22. MY GOLDEN YEARS – The Lemon Twigs (26)
  23. HOW DID YOU GET HERE? – Antony Szmierek (17)
  24. PRETTY VICIOUS – The Struts (18)
  25. BLUSH – Vazum (27)
  26. LUNAR ECLIPSE – The Vaccines (28)
  27. DIAMOND AND THE MISSING SON – Unquiet Nights (30)
  28. ATTRACTION – Wild Horse (19)
  29. BICYCLE AWAY – Sam Rappaport (N)
  30. KOOL AID BLUE – The Sylvia Platters (N)