EML’s Favorite Songs – “What Have I Done to Deserve This?” by the Pet Shop Boys & Dusty Springfield

On By EclecticMusicLoverIn Favorite Songs15 Comments

One of my favorite songs from the 1980s is “What Have I Done to Deserve This?” by the Pet Shop Boys and Dusty Springfield. Released the day after Christmas in 1987 as the second single from the Pet Shop Boys’ second album Actually, it’s my favorite track of 1988. On the strength of “West End Girls”, their first chart single in the U.S., and my favorite song of 1986, British synth-pop duo Pet Shop Boys (consisting of Neil Tennant and Chris Lowe) became one of my favorite acts of the late 1980s. And who doesn’t love the legendary Dusty Springfield?

“What Have I Done to Deserve This?” was written in late 1984 by Tennant and Lowe, with help from American songwriter Allee Willis (who co-wrote the Earth, Wind & Fire hit “Boogie Wonderland” with Jon Lind). It was originally intended for inclusion on the Pet Shop Boys’ first album Please (which includes “West End Girls”, “Opportunities” and ‘Love Comes Quickly”), but they couldn’t come up with a female vocalist suitable to sing the other half of the duet. Various popular singers of that time period were suggested to them, including Tina Turner and Barbra Streisand, but none seemed suitable for the song. Tennant and Lowe wanted a woman whose voice suggested both experience and vulnerability, warmth but also a tough, independent attitude.

Their manager’s assistant eventually suggested Dusty Springfield, whose 1969 album Dusty in Memphis was a favorite of Tennant’s. But EMI did not want her, believing her career had been in decline for too long and that she would not bring anything of value to the song. Tennant insisted that they choose Springfield, but after reaching out to her with a demo of the song, she turned them down. She had no idea who the Pet Shop Boys were, and wasn’t interested in singing a duet with them, so the song was left off Please. Many months later, Springfield heard “West End Girls” on the radio and liked it so much that she reconsidered. She was living in California at the time, so flew to London in December 1986 to record the song. In an interview for The Sunday Times, Tennant later recalled the vocal session with Springfield:

“She arrived at the studio on time, in a black leather designer jacket and high-heeled boots, with blonde hair and black eye make-up, clutching the lyric-sheet of the song, annotated and underlined. Chris Lowe, Stephen Hague and I began to consult with the living legend about how to sing our song and she was very nice, surprisingly a little lacking in self-confidence. As if by telepathy, a Dusty fan appeared on the studio doorstep and was invited in to listen. Dusty’s English secretary arrived, bearing a new compilation cassette. ‘They keep repackaging the old songs,’ the legend marveled. Then she went through to sing. Her voice was the same as ever. When she sang her solo part ‘Since you went away … ‘ everyone in the control room smiled. She sounded just like she used to. Breathy, warm, thrilling. Like Dusty Springfield. ‘Is that the sort of thing you want?’ she asked.”

Though the song has a bouncy, upbeat vibe with exuberant synthesized orchestral instrumentation, the bittersweet lyrics describe a dialogue between two adults in the aftermath of their acrimonious breakup. Each of them wistfully observes that they should be happy to now be free of each other, yet wonder how they’ll move forward without them. Tennant rap/sings with resentment from the male point of view: “I bought you drinks, I brought you flowers. I read you books and talked for hours. Every day, so many drinks, such pretty flowers, so tell me what have I, what have I, what have I done to deserve this?”

Springfield then responds with feelings of regret and second thoughts: “Since you went away, I’ve been hanging around. I’ve been wondering why I’m feeling down. You went away, it should make me feel better. But I don’t know, oh how I’m gonna get through?/ We don’t have to fall apart, we don’t have to fight. We don’t need to go to hell and back every night. We can make a deal.” Their wonderful vocals complement each other’s so beautifully, particularly when they harmonize.

It’s a marvelous song, and peaked at #2 in both the U.S., where it was kept from the top of the Billboard chart by Exposé’s “Seasons Change” and fellow British singer George Michael’s “Father Figure”, and the UK, where it was held back by Rick Astley’s “Never Gonna Give You Up”. It’s also Dusty Springfield’s highest-charting single, and would help revitalize her career by introducing her to a new generation of listeners.

The official video for the song barely features Dusty Springfield at all, so I’ve instead chosen their live performance at the 1988 BRIT Awards. Unfortunately, they lip sync the song, which was still typical for that time period.

And here’s the song on Spotify:

New Song of the Week – SHIPS HAVE SAILED: “Love in October”

On By EclecticMusicLoverIn Reviews14 Comments

One of my very favorite indie bands is Los Angeles-based duo Ships Have Sailed. The brainchild of vocalist/guitarist Will Carpenter, who originally formed the band in 2012 with a few other musicians who’ve come and gone over the succeeding years, Ships Have Sailed has for the past five years or so consisted of just him and drummer Art Andranikyan. They play a pleasing style of alternative pop-rock characterized by beautiful melodies, intelligent, uplifting lyrics, and sublime arrangements and instrumentation. I love their music, and have written about several of their songs on this blog over the past three years. Two of them – “Escape” in 2019 and “Breathe” earlier this year – have reached #1 on my Weekly Top 30, with “Escape ranking #19 on my Top 100 Songs of 2019 list. And their last single “Take My Money” is currently enjoying an extended run on my Weekly Top 30. On September 30th, they dropped a brand new single “Love in October“, which is so special, I’ve chosen it as my New Song of the Week.

Will told me the song and its accompanying video were born out of both a long daydream of his, and their 2020 tour that was abruptly cut short by the Covid pandemic. He elaborates: “A lot of my songs come from a real, personal experience, [but] that actually isn’t the case here. This loss I’m describing in ‘Love In October’ didn’t happen in real life, it happened in a long and involved daydream (kind of a waking nightmare if you will) that prevented me from making a series of decisions that would have led straight to the actual situation. I’m grateful for that and for the fact that such a beautiful song came out of it.”

One of the many things I like about Ships Have Sailed is that every song of theirs sounds uniquely different. Some of them, like “Escape” and “Breathe”, are uplifting ballads, while “Skin” has a laid-back folk vibe, and “Take My Money” is fun, bouncy pop. “Love in October” is one of their most musically complex songs yet, with a dramatic blend of cinematic and alternative rock elements that make it particularly compelling.

The song begins with a gorgeous orchestral instrumental intro that slowly builds into an almost religious experience. At about 55 seconds in, a rather haunting guitar note enters as the song transitions to a mid-tempo beat, accompanied by the introduction of bass, percussion and more guitar. Will’s beautiful vocals are heartfelt and vulnerable as he gently sings to a loved one, admitting he’s made mistakes and asking her to not abandon their relationship “Don’t walk away, I want you back. It seems I’ve stumbled in the wrong direction, on the train but off the track again. Ooh, I’d do anything to keep the leaves from falling. You know I’m all in.” When the chorus arrives, the song explodes into a full-fledged rock track, with blazing guitars, driving bass and Art’s aggressive drumbeats. Will’s vocals rise with emotion along with the more intense instrumentals as he fervently implores “How did we get here, love in October. Same old sun is so cold. But I don’t wanna let go.”

“Love in October” is a stunning track from start to finish. The gorgeous instrumentation and vocals, dramatic arrangement and flawless production make it one of their best songs yet.

With regard to the video, in March 2020, after much planning and preparation, Ships Have Sailed embarked on what was to be a 10-show tour across the Southwestern U.S. with fellow L.A. band Quitting Whitney. After playing only the first show in Las Vegas, their tour came to an abrupt halt the next day as Covid suddenly began spiraling out of control. Will explained “When we realized (in Denver) that our tour was going to completely fall apart, we had a choice to make: turn around and slump back to LA, or follow our non-refundable tour route and create as much content as possible along the way…really telling our story. We were sharing a van and all gear with another duo (Quitting Whitney) and we all agreed to find a silver lining and create some content and art along the way. We outlined two music video treatments on our way from Denver to Albuquerque, one for them and one for us, and I had Danny (my co-producer on ‘Love In October’) print me the rough production of the song (which wasn’t even totally finished yet) so we could have playback.” 

Each band shot video of the other playing their instruments at the AirBnB where they were staying, while the owner, who was staying in an adjacent guest house, thankfully didn’t mind the noise. They captured film footage from the road, and managed to turn a ‘ruined’ tour into something of an adventure, making two new friends in Matt and Ryan of Quitting Whitney along the way, and Will and Art becoming closer through the experience as well. Will also said that this is their first video that his wife Payal (via their wedding photos) has ever been willing to appear in.

Follow Ships Have Sailed: Facebook / Twitter / Instagram
Stream their music: Spotify / Soundcloud / Apple Music / Pandora
Purchase:  iTunes  / Amazon

Top 30 Songs for October 3-9, 2021

On By EclecticMusicLoverIn Weekly Top 30's3 Comments

I just love “t r a n s p a r e n t s o u l”, wherein 20-year-old WILLOW (the daughter of actors Will and Jada Pinkett Smith, for those who don’t already know) goes off on fake and duplicitous people with scathing lyrics, raging guitars and the pummeling drumbeats of Blink-182 drummer Travis Barker. The lead single from her fourth solo studio album Lately I Feel Everything, it’s my new #1 song this week, displacing twenty øne piløts’ “Saturday”, which falls to #2. Entering the top 10 is “Take the L” by Texas alt-rock band Roadkeeper, one of my favorite indie bands who’ve become regulars on my Weekly Top 30. “Take the L” is their fourth song to appear on my list, all of which have made the top 10. Two songs make their debut this week: “Colorado” by German alternative pop-rock band Milky Chance, and the delightful “I Don’t Wanna Talk (I Just Wanna Dance)” by British electro psych-pop band Glass Animals.

  1. TRANSPARENTSOUL – WILLOW featuring Travis Barker (2)
  2. SATURDAY – twenty øne piløts (1)
  3. MINE FOREVER – Lord Huron (3)
  4. WRECKED – Imagine Dragons (6)
  5. THE ANGEL OF 8TH AVE. – Gang of Youths (8)
  6. MISSING PIECE – Vance Joy (5)
  7. STARGAZING – The Neighbourhood (4)
  8. BE A WOMAN – DeLaurentis (9)
  9. BAD DREAM – Cannons (10)
  10. TAKE THE L – Roadkeeper (12)
  11. LAST TRAIN HOME – John Mayer (7)
  12. WHAT YOU SAY – Cold War Kids (13)
  13. I WANNA BE YOUR SLAVE – Måneskin (16)
  14. DEVIL – Two Feet (11)
  15. TAKE MY MONEY – Ships Have Sailed (17)
  16. NEVER LOOKED BACK – The Zangwills (21)
  17. MAKING A FIRE – Foo Fighters (18)
  18. CAN YOU HANDLE MY LOVE?? – WALK THE MOON (19)
  19. DISTORTED LIGHT BEAM – Bastille (20)
  20. NDA – Billie Eilish (22)
  21. HUSH – The Marías (23)
  22. MONTERO (Call Me By Your Name) – Lil Nas X (15)
  23. STOP MAKING THIS HURT – Bleachers (14)
  24. FREAKS – Surf Curse (26)
  25. TALK TO ME – Bealby Point (27)
  26. PIGS IN THE SKY – Grabbitz (28)
  27. HOW NOT TO START A FIGHT – Caitlin Lavagna (29)
  28. BITTER TASTE – Billy Idol (30)
  29. COLORADO – Milky Chance (N)
  30. I DON’T WANNA TALK (I JUST WANNA DANCE) – Glass Animals (N)

FUTURE THEORY – Single Review: “Hang Your Hat”

On By EclecticMusicLoverIn Reviews7 Comments

I’ve featured hundreds of bands on this blog since I began writing reviews in early 2016, and have to say that some of the best hail from the United Kingdom. And among all those great British bands, one that impressed me from the start is alternative psychedelic group Future Theory. Blending elements of alternative and progressive rock, psychedelia, grunge, shoegaze and funk, they write especially compelling songs characterized by lavish, complex instrumentation, intelligent lyrics and mesmerizing vocals. Like many bands, the Lincolnshire-based foursome has undergone some lineup changes over time, and now consists of Max Sander on rhythm guitar and vocals, Chris Moore on lead guitar, Jacob Brookes on bass and Tom Paton on drums, although for the recording of their latest single “Hang Your Hat“, former band members Rex Helley played bass and Rohan Parrett played drums.

I first wrote about them in April 2017 when I reviewed their fantastic 2016 debut EP Fool’s Dream, then twice in 2018 when I reviewed their excellent singles “Fractured Nation” and “Peace of Mind”. (You can read those reviews by clicking on the links under ‘Related’ at the end of this post.) Now the Lincolnshire-based foursome are back with “Hang Your Hat”, their first new single in more than three years. The lead single from their forthcoming self-titled debut album, the song is a biting kiss-off to a romantic partner who’s been unfaithful, and broken the bonds of trust in the relationship. The track was recorded at 2fly Studios by Alan Smith (Arctic Monkeys, Reverend & The Makers, 65daysofstatic), mixed and produced by Koncide (aka Chris Hengmith), Max and Chris, and mastered by Yves Altana and Chris Ree.

Musically, “Hang Your Hat” is a marvelous feast for the ears, with some of the more dramatic and varied guitar work I’ve heard packed into one song in a long while. The song opens with a fairly intense instrumental flourish like you’d normally hear in a bridge or chorus, with a barrage of fuzz-coated psychedelic guitars and lots of crashing cymbals. At around 25 seconds, the music calms to a languid bass-driven groove, accompanied by strummed guitar and light drums as Max begins to sing in his distinctive sultry croon. Those gnarly guitars and aggressive rhythms ramp back up in the chorus, then transition back and forth in another verse and chorus, punctuated with beautiful chiming guitar notes and highlighted by a killer reverb-soaked guitar solo in the bridge.

I love Max’s vocal style that’s equal parts sensuous and raw, and enhanced by echo and reverb that render them particularly effective here in conveying the bitterness and pain expressed in the lyrics: “I don’t want to do this anymore. Where did you go last night? I said I’d lose my mind, where did you go last night? Got to be, where did you hang you’re hat? You’re gonna need that some day, pick it up wrap it up, just for today.” In the calmer moments, he almost sounds a bit like Anthony Keidis of the Red Hot Chili Peppers, not a bad thing at all.

With “Hang Your Hat”, Future Theory return in fine form, proving they haven’t lost their stride one bit during their hiatus. It’s a very strong track, and I’m confident we’ll be hearing more gems from them in their forthcoming album.

Connect with Future Theory:  Facebook /  Twitter /  Instagram
Stream their music:  Spotify / Apple Music / Soundcloud /  YouTube
Purchase on:  iTunes /  Bandcamp

Paris Alexander featuring Eirene – Album Review: “Renaissance”

On By EclecticMusicLoverIn Reviews14 Comments

Paris Alexander is a creative and talented singer-songwriter, composer and electronic music producer based in Brighton, England. He’s been a long time collaborator with British singer-songwriter, producer and muse Tina Eirene (with whom he’s also romantically involved), as well as Norwegian coldwave/post-punk artist Antipole, with whom he co-wrote, sang vocals and played synths on, and produced three albums together (one of which, the 2017 release Northern Flux, I featured on this blog). Alexander and Antipole have also worked together on numerous projects with other artists, and Alexander has worked with fellow Brighton electro-rock band IAMWARFACE (one of my favorite British bands who I’ve also written about many times) and London electro-psych band Leg Puppy.

Tina Eirene and Paris Alexander enjoying themselves

In late 2019, Alexander released two excellent darkwave singles, “Tense” and “Druids”, both featuring vocals by Eirene. Then, this past February, he began releasing a series of new singles, “Renaissance”, “Devour”, and “Lost in the City” (the latter of which I also reviewed). All three of those singles are included on his wonderful debut album Renaissance, which dropped September 17th. The album was co-written and co-produced by Eirene, who also sings vocals on most tracks, and recorded, mixed and mastered at Alexander’s Blue Door Music Studios in Brighton.

About the album, Alexander explained to me that the title “Renaissance” is intended to symbolize “a positive change in life and an onward journey,” as well as the fact that this is his first solo album (albeit with Eirene). Delivering 38 minutes of shimmery darkwave grooves in ten outstanding tracks, Renaissance has a retro late 80s feel in the vein of bands like The Cure, Depeche Mode and New Order, yet sounds current and original. One of the characteristics I especially like about the album is that, similar to The Cure, many songs feature beautiful jangly and chiming guitars which lend great texture and drama to their overall sound.

The album opens with the title track “Renaissance“, a brooding song with a mesmerizing fast-paced driving beat that sets the tone for what’s to come. Alexander explained that the melodramatic lyrics are a metaphor for an internal crisis that’s producing an anxiety attack: “The mine exploding in my face was my first clue. Dreams shattered, burning pain. My hands are tied, my heart is cold. Burn down, the ashes, left with nothing. Nothing. My hands are tied, my heart is cold.” His rich baritone vocals sound like a glorious mash-up of David Bowie and ABC’s Martin Fry, while Eirene’s sultry, otherworldly croons lend added mystery to the proceedings.

From that point on, each track seems to flow seamlessly into the next, transporting me to a dark but dreamy place. The hauntingly beautiful second track, “Son Chemin“, is one of my favorites. Loosely translated, the song’s title means one’s way or path forward, which seems to signify an emergence from the personal hell first described in the opening track “Renaissance”. Against a backdrop of lush atmospheric synths, the interplay between the throbbing synth bass groove and the delicate mix of moody and chiming guitars is quite marvelous.

As noted above, I’ve previously written about “Lost in the City“, a darkly beautiful song about the cold and anonymous aspects of urban life, and how despite living amongst lots of people, we can sometimes feel very isolated and alone. I love the assertive stomping beat, hypnotic bassline, moody swirling synths and bold jangly guitars. The accompanying video, beautifully filmed in black and white by Eirene, features scenes along and around the Thames River in historic South East London. The black and white tones and brooding skies nicely capture the darkwave elements of the music and lyrics.

Frequent collaborator Antipole contributes some dazzling jangly guitar work on “The Void“, a song awash in dreamy psychedelic synths and moody vocal harmonies. Another favorite of mine is “Devour“, a dramatic and stunning track featuring a sharp, pulsating beat, luxurious cinematic synths, shimmery guitars and enchanting harmonic choruses. The lyrics are rather ambiguous, but seem to speak to searching for a way out of the depths of despair: “I kneel on this dusty floor. Look up through the pane. Light shimmers on my refrain. The dust splinters the light. The moon breaches the night. My arms extend to the stars. My back it holds the scars. Gotta find a way.”

The stellar tracks keep coming on strong, and I’m running out of descriptors and superlatives. “Siren” has a pulsating, almost dubstep-type beat, overlain with mysterious sweeping synths, handclaps, and a repetitive and hypnotic guitar riff, all creating a mesmerizing soundscape. In her best siren-like voice, Eirene breathily croons “You’re the one that always draws the best of me. Hold on to the words that go unspoken. I want the sun to shine through the trees, and the warmth develop my sanity.” The dark and dramatic “Floating Cities” features strong, driving beats, otherworldly synths and the combined vocals of Alexander, Eirene and guest vocalist UIU aka Grey Blatsa, who also played synths.

On the lively “Sound of Vision“, Alexander layers fuzz-coated gnarly synths and chiming guitar notes over a strong, throbbing EDM beat and deep, almost funky bassline. The result is a mesmerizing dance track guaranteed to have you swaying your hips within seconds. Eirene’s bewitching siren-like vocals make a welcome return engagement on this terrific track as well. The charming video they produced for the song features vintage footage of women dancing and doing light striptease, courtesy of Prelinger Risque Archives.

The final two tracks, “Revival” and “Desire“, deliver more hypnotic grooves, darkwave synths and stellar guitar work. “Revival” has a rapid, driving beat and spacey synths, punctuated by beautiful jangly guitars and Alexander and Eirene’s somber vocal harmonies, while the more languid “Desire” features a sultry dance vibe with jangly guitars, swirling atmospheric synths and Eirene’s breathy vocals.

Before I know it, the album’s over, and the first thing I want to do is hit repeat so I can hear it all again. Renaissance is a beautiful, masterfully-crafted work, and one of the finest electronic music albums I’ve written about in a long while. If you’re a fan of darkwave electronic music, or bands like The Cure and Depeche Mode, you will enjoy this album.

Follow Paris:  Facebook / Twitter / Instagram

Stream his music:  Spotify / Apple Music / Soundcloud

Purchase on Bandcamp

Top 30 Songs for September 26-October 2, 2021

On By EclecticMusicLoverIn Weekly Top 30's10 Comments

Not a lot of changes on this week’s Top 30. twenty øne piløts hold the top spot for a second week with “Saturday”, while Willow Smith’s rousing kiss-off anthem “t r a n s p a r e n t s o u l”, closes in at #2 and Lord Huron’s “Mine Forever” climbs two spots to #3. Two songs enter the top 10: “Gang of Youth’s “the angel of 8th ave.” and Cannons’ “Bad Dream”. The lone debut track this week is “Bitter Taste”, a comeback of sorts for 65-year-old Billy Idol. It’s good to have him back on one of my music lists after a long absence. The autobiographical song addresses his near-fatal motorcycle accident in 1990, in which he nearly lost his right leg.

  1. SATURDAY – twenty øne piløts (1)
  2. TRANSPARENT SOUL – WILLOW featuring Travis Barker (4)
  3. MINE FOREVER – Lord Huron (5)
  4. STARGAZING – The Neighbourhood (2)
  5. MISSING PIECE – Vance Joy (3)
  6. WRECKED – Imagine Dragons (8)
  7. LAST TRAIN HOME – John Mayer (6)
  8. THE ANGEL OF 8TH AVE. – Gang of Youths (11)
  9. BE A WOMAN – DeLaurentis (10)
  10. BAD DREAM – Cannons (12)
  11. DEVIL – Two Feet (7)
  12. TAKE THE L – Roadkeeper (14)
  13. WHAT YOU SAY – Cold War Kids (13)
  14. STOP MAKING THIS HURT – Bleachers (9)
  15. MONTERO (Call Me By Your Name) – Lil Nas X (16)
  16. I WANNA BE YOUR SLAVE – Måneskin (18)
  17. TAKE MY MONEY – Ships Have Sailed (19)
  18. MAKING A FIRE – Foo Fighters (20)
  19. CAN YOU HANDLE MY LOVE?? – WALK THE MOON (21)
  20. DISTORTED LIGHT BEAM – Bastille (22)
  21. NEVER LOOKED BACK – The Zangwills (25)
  22. NDA – Billie Eilish (23)
  23. HUSH – The Marías (24)
  24. ENNUI – Dawning (15)
  25. LIKE I USED TO – Sharon Van Etten & Angel Olsen (17)
  26. FREAKS – Surf Curse (27)
  27. TALK TO ME – Bealby Point (28)
  28. PIGS IN THE SKY – Grabbitz (29)
  29. HOW NOT TO START A FIGHT – Caitlin Lavagna (30)
  30. BITTER TASTE – Billy Idol (N)

EML’s Favorite Songs – “That’s the Way of the World” by Earth, Wind & Fire

On By EclecticMusicLoverIn Favorite Songs9 Comments

One of my favorite songs of the 1970s is the enchanting and soulful “That’s the Way of the World” by Earth, Wind & Fire. The song was the title track from their magnificent sixth studio album That’s the Way of the World, released in March 1975. I loved the entire album, and had it on repeat that summer when I also experienced my first significant love affair.

Named for band founder and front man Maurice White’s astrological sign of Sagittarius (which has a primary elemental quality of fire and seasonal qualities of earth and air), Earth, Wind & Fire was formed in Chicago in 1969. White had formerly been a session drummer for Chess Records, as well as a member of the Ramsey Lewis Trio. He eventually moved the band to Los Angeles, where it grew to include as many as nine members.

Their extensive lineup underwent numerous changes over the years, but some of the notable members have included Philip Bailey, Verdine White, Ralph Johnson, Larry Dunn, Al McKay, Roland Bautista, Robert Brookins, Sonny Emory, Fred Ravel, Ronnie Laws, Sheldon Reynolds and Andrew Woolfolk. They’re known for their exotic kalimba sound (characterized by the Mbira, a family of traditional musical instruments of the Shona people of Zimbabwe), exuberant horn section, elaborate stage shows, and the dynamic contrast between Philip Bailey’s falsetto and Maurice White’s baritone vocals.

Their first five albums each met with successively greater success, and two of the singles, “Mighty Mighty” and “Devotion”, from their fifth album Open Our Eyes cracked the Billboard Top 40. But it was “Shining Star”, the lead single from That’s the Way of the World, that would be their breakout hit, going all the way to #1 on both the Billboard Hot 100 and Hot Soul Singles charts. The song also won a Grammy Award for Best R&B Performance by a Duo or Group with Vocals, but I digress…

“That’s the Way of the World” was the second track from the album to be released as a single, in June 1975. It reached #5 on the Billboard Hot Soul Singles chart, but only #12 on the Hot 100, which I always thought was a travesty, as the song is so phenomenal. I used to compile my own Weekly Top 10 back then, and it was a #1 hit as far as I was concerned. To this day, it remains my favorite of Earth, Wind & Fire’s many great songs.

It’s a beautiful and uplifting song of love, hope and optimism, but with a darker undercurrent touching on how racism and intolerance can corrupt an innocent child. The serene R&B melody is sublime, and I love the jazzy horns, lovely keyboards and funky guitars. And, as always, the dual vocal harmonies of Maurice White and Philip Bailey are fabulous.

Hearts of fire creates love desire
Take you high and higher to the world you belong
Hearts of fire creates love desire
High and higher to your place on the throne

We've come together on this special day
To sing our message loud and clear
Looking back we've touched on sorrowful days
Future, past, they disappear

You will find (you will find) peace of mind (yeah yeah)
If you look way down in your heart and soul
I don't hesitate 'cause the world seems cold
Stay young at heart 'cause you're never old at heart

That's the way of the world
Plant your flower and you grow a pearl
Child is born with a heart of gold
The way of the world makes his heart so cold

On their 2004 version of The 500 Greatest Songs of All Time, Rolling Stone ranked “That’s the Way of the World” at #329, however, the song was dropped altogether on their revised list that just came out on the 15th of this month (a list with which I have many issues). Surprisingly, the inferior (to me) and grossly overplayed “September” ranks at #65 on the more recent list. But it’s their most popular and most-streamed song by far, so what do I know?

One thing I learned in researching for this write-up is that the album That’s the Way of the World was initially written as a soundtrack for a film of the same name that was produced and directed by Sig Shore, who also produced the 1972 film Super Fly.  The film starred Harvey Keitel, Ed Nelson, and Earth, Wind & Fire as “The Group”. Keitel played a record producer who hears The Group performing and is impressed by their act. The band was convinced the film would be a flop (which it was), and decided to release the soundtrack prior to the film’s premier. It turned out to be a smart move, as while the film bombed, the album became a huge hit.

New Compilation Album “V4Velindre” to Raise Funds for Welsh Cancer Center

On By EclecticMusicLoverIn Reviews6 Comments

Welsh music journalist Kevin McGrath has embarked on an ambitious effort to raise funds for Velindre Cancer Center in Cardiff, Wales, where he’s received treatment for his own cancer. A regular contributor to Wales Arts Review and New Sound Wales, McGrath came up with the idea to create a massive 40-track digital album release as a way to not only raise money for a worthy cause, but also pay back in kind for the life-saving care he’s received.

Accordingly, he reached out to some of his favorite musicians in Wales, as well as in places such as Italy, Finland and America, to donate a song, old or new, released or unreleased, toward the creation of a 40-track mixtape album. Well, the response was beyond what he expected, and the album, entitled V4Velindre, now has a whopping 50 tracks by some of the best bands in Wales, including Bandicoot, Climbing Trees, Campfire Social, and Head Noise, as well as established singer/songwriters such as Jodie Marie, Evans McRae and Dan Bettridge.

McGrath explains his mission for creating the album: “V4Velindre exists because from the minute that we are born our lives intersect with the National Health Service. We all have stories (happy and sad) of the crucial role the NHS plays in our very existence. Nothing, though, could have prepared us for the sacrifice that NHS staff all over the country made to keep us safe during the COVID pandemic. Just between March 2020 and December 2020 883 NHS staff members died from COVID doing their duty and so much more. As the NHS, and the nation, seeks to rebuild in the wake of the pandemic we need to come together and make our contribution. As Nye Bevan famously said, ‘the NHS will last only as long as there’s folk with faith left to fight for it’. That fight comes in many measures – some will work for the NHS, some will vote for the NHS, some will protest for the NHS, and some will help finance its upkeep through jumble sales and sponsored walks. Please consider purchasing V4Velindre. Every single penny of the proceedings that comes to me from the sale of this album (minus the Bandcamp commission) will be passed straight to the Velindre Cancer Centre, where I have been cared for as an outpatient for the past eight years.“

Among its 44 tracks, the album features songs by the last three winners of the Welsh Music Prize, including “O Silly Me” by young singer-songwriter Boy Azooga, “Brassneck” by indie legends The Wedding Present (an exclusive re-working of one of their all-time classics), “Who You Are” by BOB and “Enemy of Promise” by the Nightingales. In addition, the album includes songs donated by outstanding new Indie bands from Italy (Smile) Finland (That Forgotten Band) and the U.S. (Walter Etc, Eggs on Mars and Parker Woodland). Two of the songs are by Welsh artists I’ve previously featured on this blog: “Deal With the Devil” by the hyper-talented singer-songwriter GG Fearn, and “Stage Fright!” by electro-punk band Head Noise. There are also some newly-recorded tracks from Armstrong, Silent Forum, Burning Ferns and Y Dail that cannot be heard anywhere else but on this album.

Here’s a sampling of the wonderful songs included on V4Velindre:

V4Velindre will be available exclusively through Bandcamp as a digital-only release on October 1st, and may be pre-ordered here. If you pre-order, you will get five tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more).

ALEX SOUTHEY – EP Review: “My Nights On the Island”

On By EclecticMusicLoverIn Reviews5 Comments

Alex Southey is a Canadian singer-songwriter and musician who makes outstanding music that can generally be described as alternative indie folk, but it’s so much more than that. Originally from Vancouver and currently based in Toronto, the busy artist has released quite a bit of music over the past few years, including three albums: Christmastown in 2019, You’re Not Just a Body to Me in 2020 and, most recently …And the Country Stirred this past February. Prior to that album’s release, I featured one of its singles “Rosie” – a deeply personal and haunting love song to his erstwhile hometown of Vancouver – on a Fresh New Tracks post.

Now he’s back with an exquisite new EP My Nights On the Island, which dropped September 17th. All the songs were written, performed, and produced by Alex, and mastered by Aaron Hutchinson. The beautiful cover artwork was designed and created by Felicia Wetterlin. The EP is a departure from his more typical indie folk sound, though truth be told, his music style is rather eclectic and hard to pin down, genre-wise. Like all creative artists, he’s not afraid to explore and experiment with his music, and as a result, each of his albums sound different from one another.

In an interview with Spill Magazine, Alex explained his creative process behind “My Nights On the Island: “I was trying to make an EP that would please my 17-year-old self. So, there is a little bit of Hip Hop and beats; I am not rapping, but in terms of beats. There are a bunch of acoustic guitars, and electric guitars and there is a theme, which is breaking up.” In a later Instagram post, he further elaborated “The EP encompasses a lot of things I wanted to do, and to not do the same thing again. Instead of starting with folk songs and dressing them up with an arrangement, I tried to go backwards, starting with what might be considered secondary or accent instruments (at least for my taste) as the main instrument. It forced me to write in a slightly different way. Of course, there are some pretty simply structured songs on here, like ‘As Close As You’ll Ever Be’, but there are also plenty of moments where it’s totally abstract in a way that at least absorbed ME and continued to pique my interest enough that I followed through with them.”

Well, the result is a fascinating and sonically complex work that’s pure delight for the senses. I’ve now listened to the EP six times, and discover new atmospheric sounds, instrumental textures and vocal nuances with each successive play. While there are common threads running through all the tracks, each one sounds uniquely different, surprising and thrilling us at every turn. Using nature sounds of water, waves and birds, he takes us right to that island.

The darkly beautiful opening track “The Gods Are Fighting” starts off with sounds of a boat slowly moving through what I’m imagining to be nighttime waters, accompanied by far-off ominous synths. At around 45 seconds, the song abruptly transitions to a lovely acoustic guitar-driven melody, highlighted by gorgeous strings and what sounds like a Mellotron, soaring to a dramatic crescendo. The track calms back down at the end with gentle sounds of breaking waves. About the track, Alex told Spill Magazine: “I wrote the song around the time my last significant relationship ended. That also happened to be when it felt as though Toronto and its relationship with many of its citizens was at an all-time low. The song describes the dual positions of a relationship that has soured – where even dreams are muted and the agreed upon etiquette is out the window.” His richly layered vocals are captivating, with a melancholy quality that nicely conveys the sadness and pain of his break-up.

On the moody, atmospheric “Evergreen“, which sounds a bit like a song Bon Iver could have recorded, Alex experiments with lush, otherworldly synths and sounds, over which he layers delicate notes of what sounds like a mandolin or possibly a ukelele. The lyrics are spare, but he wistfully laments of how his feelings of love have died: “I don’t, I don’t, I don’t love you. I turned yesterday into stone.” And as its title suggests, the instrumental piece “Mellotron and Juliet” features a stunning Mellotron and his enchanting falsetto croon, creating a dreamy, yet melancholy soundscape.

“My Nights On the Island / Rich In Experience” is an interesting track, as it’s actually two distinct, but related mostly instrumental tracks that Alex has fashioned into a couplet. The first half, which is the title track, starts off with Alex’s charming strummed acoustic guitar, then deeply resonant brass sounds from what I’m guessing is his Mellotron wash over us as he sings in almost exotic-sounding ethereal vocals, accompanied by somber piano keys and a languid hip hop beat. The song appears to end at 2:30, and after a 10-second lull, we hear sounds of birds chirping along with a return of the beautiful Mellotron. Eventually, horns enter as the music swells into a lush, idyllic soundscape befitting its “Rich in Experience” title.

Perhaps the most unusual song is the dramatic and trippy “As Close As You’ll Ever Be”, which Alex first released as a single in July. The song opens and closes with sounds of a large crowd cheering, as if at a rock concert. He explained this technique to Spill Magazine: “On this song, there is kind of a crowd atmosphere which is influenced from listening to albums by Hip Hop artists and bands like Pink Floyd who would use crowd noises, and weirdly also influenced by Oasis. On their best albums they kind of do this tiny little intro and tiny little outro leading into songs.” Musically, the song features blaring, almost tortured synths and sounds, with acoustic guitar during quieter moments. The lyrics seem to speak to his partner’s lack of appreciation for his worth as a musician: “I’m the hit in your head / I’m all on your bedspread / But that’s as close as you’ll ever be. And it’s true I earn half of what the next dance gets, but I’ve got a heart of gold you’ll pay to see.” I love his vocals, which sound radically different on each track.

On the bittersweet closing track “There’s Anneko, Down the Fire Escape“, Alex comes to terms with the fact that the relationship is over for good, and that they must each let go and move on. The song has a wonderful dominant bassline throughout, overlain with mournful cinematic synths and acoustic guitar notes. His vocals are filled with sadness and regret as he laments “There’s a neat trick, that I taught myself. To let go. Let go. / I can never love you how you want. So let go. Let go.” It’s a fine, albeit dark, finish to this beautiful EP. My Nights On the Island is an impressive, masterfully-crafted work that should make Alex feel quite proud.

Follow Alex Southey:  Facebook / Twitter / Instagram

Stream his music:  Spotify / Apple Music / Soundcloud / YouTube

Purchase on Bandcamp

Top 30 Songs for September 19-25, 2021

On By EclecticMusicLoverIn Weekly Top 30's5 Comments

twenty øne piløts have been my favorite band since around 2015, and though I’m not quite as enamored with their latest album Scaled And Icy as I am with their previous offerings Trench, Blurryface and Vessel (all masterpieces in my not so humble opinion) I do love two of its tracks: “Shy Away” (which spent 3 weeks at #1 on my Weekly Top 30 this past May), and “Saturday”. Though much more pop-oriented than a lot of their previous music, “Saturday” is a sweet tune with an irresistible dance groove, and my new #1 song this week, dislodging The Neighbourhood’s “Stargazing” after a two-week run. Otherwise, no other significant changes to this week’s list. Possible future #1’s are Willow Smith’s bombastic gem “t r a n s p a r e n t s o u l”, which climbs a spot to #4 and Lord Huron’s gorgeous “Mine Forever”, which climbs two spots to #5. Debuting this week are three songs: “Talk to Me” by Canadian alt-rock band Bealby Point, the trippy “Pigs in the Sky” by electronic artist Grabbitz, and “How Not to Start a Fight” by Welsh singer-songwriter Caitlin Lavagna.

  1. SATURDAY – twenty øne piløts (3)
  2. STARGAZING – The Neighbourhood (1)
  3. MISSING PIECE – Vance Joy (2)
  4. TRANSPARENTSOUL – WILLOW featuring Travis Barker (5)
  5. MINE FOREVER – Lord Huron (7)
  6. LAST TRAIN HOME – John Mayer (6)
  7. DEVIL – Two Feet (4)
  8. WRECKED – Imagine Dragons (9)
  9. STOP MAKING THIS HURT – Bleachers (8)
  10. BE A WOMAN – DeLaurentis (11)
  11. THE ANGEL OF 8TH AVE. – Gang of Youths (17)
  12. BAD DREAM – Cannons (14)
  13. WHAT YOU SAY – Cold War Kids (15)
  14. TAKE THE L – Roadkeeper (16)
  15. ENNUI – Dawning (12)
  16. MONTERO (Call Me By Your Name) – Lil Nas X (13)
  17. LIKE I USED TO – Sharon Van Etten & Angel Olsen (10)
  18. I WANNA BE YOUR SLAVE – Måneskin (20)
  19. TAKE MY MONEY – Ships Have Sailed (21)
  20. MAKING A FIRE – Foo Fighters (22)
  21. CAN YOU HANDLE MY LOVE?? – WALK THE MOON (23)
  22. DISTORTED LIGHT BEAM – Bastille (26)
  23. NDA – Billie Eilish (27)
  24. HUSH – The Marías (28)
  25. NEVER LOOKED BACK – The Zangwills (30)
  26. EVERY WINDOW IS A MIRROR – Joywave (18)
  27. FREAKS – Surf Curse (29)
  28. TALK TO ME – Bealby Point (N)
  29. PIGS IN THE SKY – Grabbitz (N)
  30. HOW NOT TO START A FIGHT – Caitlin Lavagna (N)