Benjamin Belinksa is an earnest and thoughtful young singer-songwriter and musician based in Newcastle, England. Born in Stoke-On-Trent to Welsh and Polish parents, Benjamin moved to Newcastle when he was 17, but soon thereafter spent time in Glasgow, Berlin, and then Paris, working at a series of menial jobs while also writing music as time permitted. After meeting fellow musician E.A.R in Paris, the two formed the band Paris, Texas, and released two albums with cult producer Kramer (Low, Will Oldham, Daniel Johnston). Eventually, they moved back to Newcastle together, where Benjamin suffered two serious setbacks: First, while rushing to catch a connecting train in York station, he left behind a suitcase containing most of his early songs, which he never recovered. Then, months later, he was viciously assaulted in a random attack by four guys in broad daylight as he was walking home from work, suffering injuries to his eye and throat that landed him in a hospital.
It was during his recovery period that he decided to stop drifting once and for all, and set down roots in Newcastle. He also got the impetus to write songs for what would become his debut solo album Lost Illusions, set for release on August 28. Thinking back on his years of drifting, and how it became an inspiration for the album, he told Ali Welford in an interview for NARC. Magazine: “Drifting is not a bad thing – it allows you to let go of many illusions, but still, they are very attractive. I wanted to grab hold of one again – namely, that I am the master of my own direction. The title ‘Lost Illusions’ is a reference to the childish disappointment that we all go through when we discover that the world is just a lot of silliness. But despite this, it only has one theme – the extraordinary sadness and wretchedness of human life, and my amazement at the fact that this wretched life can nevertheless be so beautiful and precious.”
On July 31st, Benjamin released “Young in Baltimore“, the lead single from the album. Like all the tracks on Lost Illusions, the song was recorded by Benjamin with a back-up band, and mixed and mastered at Soup Studio in London by Giles Barrett and Simon Trought. It’s a charming dream pop track, with a sunny, retro vibe that calls to mind some of the great soft rock and synth pop songs of the 1980s. The song has a lovely, upbeat melody, with a lively toe-tapping beat overlain by chiming synths and warm guitar notes. It all creates an enchanting soundscape that serves as a pleasing backdrop for Benjamin’s gentle, heartfelt vocals as he sings the bittersweet lyrics about a woman contemplating love’s regrets: “When you were young and dumb, he promised to make you his wife. Natural, and he’s cold, you say you’ve wasted your life.” The song also strikes a particular chord with me, as I grew up in San Jose, California, which is mentioned in the lyrics: “Was the winter in San Jose, yeah, the heart attack by the bay? What will you do, your past is blue, and your life is stuck there.”
About “Young in Baltimore”, Benjamin told me “While writing the song, I was thinking about the pressure to conform that we all go through, and how some of us enter into situations, relationships – not out of passion, but out of the illusion that we have no choice. I had moved to a new city, I was working a job I hated. I kept asking myself questions like ‘Have I made the right decision? Should I be doing this? Was it better before, when I was younger?’ I was also obsessed with Robert Frank’s photo-book ‘The Americans’, thinking about the people in those pictures, imagining their lives. I kept coming back to this image of a woman on a train. All of my regret, reluctancy and nostalgia collided with this image. It became a prism out of which another formed; somebody considering the end of a marriage. Only later did I realise it was a symbol of my life at that moment.
As for the bright-sounding music, it’s there to counteract the story. I was living in Glasgow at the time, too. It rains a lot there, so it was also in defiance of that. A rainy place needs sunny music.”
For as far back as I can remember beginning as a pre-teen, I’ve been a huge fan of Stevie Wonder; one of the earliest 45 singles I ever bought was “My Cherie Amour”. Of all the many albums he released over a career spanning more than 50 years, my favorite is his magnificent masterpiece Songs in the Key of Life.
Born Stevland Morris in 1950, he became blind shortly after his birth (he was born six weeks premature, and the oxygen-rich atmosphere in the hospital incubator aborted the growth of his eyes and caused his retinas to detach, resulting in blindness). Despite his handicap, he was a child musical prodigy, learning to play piano, harmonica and drums as a young boy. He signed with Motown’s Tamla label when he was only 11 years old, and first became known professionally as Little Stevie Wonder. In 1963, his single “Fingertips, Part 2” topped the Billboard Hot 100, making him the youngest artist to ever have a #1 song on that chart. He eventually dropped “Little” from his name, and in 1966 came roaring back as Stevie Wonder with his electrifying hit “Uptight”. From that point on he would practically rule the charts for the next 20 years.
Released in September 1976 when he was 26, Songs in the Key of Life was Wonder’s 18th album. It’s generally regarded as his magnum opus, and the culmination of his “classic period”, which began in 1972 with the releases of Music of My Mind and Talking Book, the latter of which included the song “Superstition”, which featured the distinctive sound of the Hohner Clavinet keyboard that came to define Wonder’s sound. His next three albums produced during this highly creative period – Innervisions, Fulfillingness’ First Finale and Songs in the Key of Life – all won Grammy Awards for Album of the Year, making him the only artist to have won the award for three consecutive album releases. In 1976, when Paul Simon won the Best Album Grammy for Still Crazy After All These Years, he quipped, “I’d like to thank Stevie Wonder, who didn’t make an album thisyear.”
Surprisingly, Songs in the Key of Life almost didn’t happen. Despite the fact that by 1975 Wonder was one of the most successful music artists in the world, with his three previous albums all critical and commercial successes, he seriously considered quitting the music industry. He’d become interested in humanitarian issues in Africa, and wanted to emigrate to Ghana to work with handicapped children. Fortunately for his music fans, he reconsidered and went on to sign a lucrative new contract with Motown to continue recording more albums.
The album was recorded primarily at Crystal Sound studio in Hollywood, with some sessions recorded at the Record Plant in Hollywood, the Record Plant in Sausalito, and The Hit Factory in New York. According to Wikipedia, during the recording process, Wonder would often stay in the studio 48 hours straight, not eating or sleeping, while everyone around him struggled to keep up. “If my flow is goin’, I keep on until I peak,” he said. A total of 130 people worked on the album, including notable jazz and R&B artists Herbie Hancock, who played Fender Rhodes on “As”, George Benson, who played electric guitar and sang backing vocals on “Another Star”, and Minnie Riperton and Deniece Williams, who sang backing vocals on “Ordinary Pain”.
That Wonder’s creative flow kept going til he peaked is an understatement, as he ultimately recorded an astonishing 21 songs, released as a double album and a bonus 7-inch 45 featuring four tracks, along with a booklet containing all the song lyrics and credits. Incorporating a wide range of genres and music styles, including soul, R&B, pop, funk, jazz, gospel, Afrobeat and even classical, Songs in the Key of Life is widely considered one of the greatest albums ever recorded and his signature album. It’s the best-selling album of his long career, and ranks #4 on Rolling Stone Magazine’s most-recent 2020 list of The 500 Greatest Albums of All Time. In 2002, it was inducted into the Grammy Hall of Fame, and in 2005 was inducted into the National Recording Registry by the Library of Congress, which deemed it “culturally, historically, or aesthetically significant”.
The album is Wonder’s celebration of love, a testament to his faith, and his belief in the idea that love can conquer hate. In the booklet that accompanied the album, he wrote: “’Songs in the Key of Life’ is only a conglomerate of thoughts in my subconscious that my Maker decided to give me the strength, the love+love-hate=love energy making it possible for me to bring to my conscious an idea.” Opening track “Love’s In Need of Love Today” sets the tone for the album with Wonder’s heartfelt plea for people to put hate aside and try and love one another, a message that certainly bears repeating today: “Hate’s goin’ round/Breaking many hearts/Stop it please before it’s gone too far.”
Some of the album’s highlights are the big hits “I Wish”, a joyously upbeat song that sees Wonder reminiscing on the joys of his childhood, and “Sir Duke”, a jazzy tribute to the legendary Duke Ellington, both of which went to #1 on the Billboard Hot 100. Though not released as a single, “Isn’t She Lovely”, a loving ode to his baby daughter Aisha, went on to become one of his most beloved songs. But the album’s full of many more outstanding tracks and deep cuts like the gorgeous love song “Knocks Me Off My Feet”, the enchanting and hopeful “If It’s Magic”, the bittersweet “Summer Soft” and the pleasing multi-cultural gem “Ngiculela-Es Una Historia-I Am Singing”.
Two of my personal favorites are the spectacular Side 4 epic tracks “As” and “Another Star”, both of which were released as singles but failed to crack the Top 30. The soulful “As” has a beautiful, almost gospel feel, and encapsulates the album’s overall theme of the enduring power of love. Wonder sings “Did you know that true love asks for nothing/Her acceptance is the way we pay/Did you know that life has given love a guarantee/To last through forever and another day.” Wonder goes on to list all the ways his love will endure, then the song immediately segues into “Another Star”. An electrifying eight and a half minute long masterpiece, this song is one of my favorites on the album, and ranks among my all-time favorites of Wonder’s many great songs. I love the exuberant Latin beat, sunny keyboards and soulful guitars, but the highlights for me are the exhilarating horns, head-bopping percussion and Wonder’s jubilant vocals that warm my heart and bring a tear to my eyes. Though the lyrics speak of an unrequited love, Wonder extolls the virtues of his love interest with such joy that you just cannot help being swept up in his bliss. Both songs really showcase his phenomenal songwriting, musicianship and vocal abilities.
Wonder also addressed issues of racism and social injustice on such tracks as “Pastime Paradise”, “Village Ghetto Land” and “Black Man”, the latter two of which he co-wrote with radio DJ, poet, songwriter, producer, rapper, and community activist Gary Byrd. On the brilliant and haunting “Pastime Paradise”, Wonder speaks first to those who remain stuck in the past, clinging to their racist and bigoted beliefs, then to the victims of that institutional racism, bigotry and other forms of oppression, “living in a future paradise/looking in their minds for the day that sorrow’s gone from time.” He admonishes us to start “living for the future paradise”, and “Shame to anyone’s lives living in a pastime paradise.”
On “Village Ghetto Land”, Wonder uses a sedate classical minuet as a lovely musical backdrop that sharply contrasts with the biting lyrics that speak to the harshness of ghetto life: “Broken glass is everywhere/It’s a bloody scene/Killing plagues the citizens unless they own police/Children play with rusted cars/Sores cover their hands/Politicians laugh and drink – drunk to all demands.” The urgent, jazz/funk infused eight and a half minute long “Black Man” speaks to the accomplishments of often-overlooked people of color: “Heart surgery was first done successfully by a black man/The railroads for trains came on tracking that was laid by the yellow man/Friendly man who died but helped the Pilgrims to survive was a red man/Farm workers’ rights were lifted to new heights by a brown man/And the leader with a pen signed his name to free all men was a white man.” The song ends with a dramatic spoken call and response by teachers and students of the Al Fann Theatrical Ensemble in Harlem, shouting out the names and accomplishments of notable people of color as well as whites.
I’ve already made note of the album’s incredible legacy, but want to elaborate a bit more by referencing some of the accolades other noted artists have heaped on Songs in the Key of Life. Elton John once wrote “Let me put it this way: wherever I go in the world, I always take a copy of ‘Songs in the Key of Life’. For me, it’s the best album ever made, and I’m always left in awe after I listen to it.” In an interview with Ebony magazine, Michael Jackson called Songs in the Key of Life his favorite Stevie Wonder album. George Michael cited the album as his favorite of all time, and along with Mary J. Blige, he covered “As” in 1999. Michael also performed “Love’s in Need of Love Today” on his Faith tour in 1988, and released it as a B-side to “Father Figure”. He also performed “Village Ghetto Land” at the Nelson Mandela 70th Birthday Tribute in 1988. He later covered “Pastime Paradise” and “Knocks Me Off My Feet” in his 1991 Cover to Cover tour.
Rapper Coolio sampled the haunting groove of “Pastime Paradise” on his 1995 single “Gangsta’s Paradise”. Prince called it the best album ever recorded, Mariah Carey has named it one of her all-time favorites, and Whitney Houston also remarked on the influence of the album on her singing. In an interview with webzine CLRVYNT, heavy metal singer Phil Anselmo described a live performance of many of the album’s songs with reverence: “Watching Stevie Wonder and just being in his presence is truly like watching a living, breathing miracle right before your eyes. It really is. It was stunning, and it still stuns me to this day.” (Wikipedia)
Stevie Wonder was unquestionably one of the most important and influential musicians of the 1970s, and Songs in the Key of Life was his greatest triumph in a career spanning five decades.
London-based electro-rock band Heist At Five is a wickedly talented and undeniably charismatic foursome with an international pedigree. Band front man and lead vocalist Oskar Abrahamsson is from Sweden, guitarist Jozef Veselsky is from Slovakia, bassist Marco “Fuzz” Paone hails from Italy, and drummer Josh Needham is from England. Together, they play an aggressive, innovative style of alternative rock that borders on experimental, with complex melodies, intricate chord progressions, spine-tingling electronic and guitar-heavy instrumentation, and electrifying vocals. And the icing on the cake is that every one of them is as gracious and kind as they are handsome.
Since first learning about them in early 2018, they’ve become one of my favorite British bands, and I’ve featured them a number of times on this blog, most recently in May 2019 when I reviewed their magnificent single “Falling With Style”. I loved it so much that it went all the way to #1 on my Weekly Top 30 and ranked #20 on my Top 100 Songs of 2019 list. Now, after keeping their fans eagerly awaiting new music from them for more than a year, Heist At Five are back with their new single “Friday Night“. Having been prevented from touring or performing live over the past six months due to the pandemic, the band has instead focused their creative energies into recording new music. They plan to release two more singles in the coming months, and hope to return to performing live again in 2021.
“Friday Night” is a bit of a departure from their typical edgy and harder experimental rock sound. Here, the band introduces an intoxicating Latin-flavored dance-pop element to their usual blend of guitar and electronic arrangements, along with the sultry croons of guest vocalist Francesca Confortini, to create a jubilant feel good summer anthem. Despite its more accessible, radio-friendly vibe, the song still features many of the stylistic elements and complex instrumentation that make their music so brilliant. I love the interplay between Jozef’s intricate and funky guitar riffs and that gorgeous swirling melodic synth that just grabs hold and sticks in our mind. Then there’s Marco’s distinctive bassline and Josh’s galloping drumbeats keeping the song’s sexy rhythmic grooves.
The song’s lyrics speak to celebrating good times and better days, and not wanting them to end. The band states that “the song focuses on the concept of not wanting to return to a state of normality when you are at your highest and everything is going your way.” Oskar is a great singer, and I love how his Swedish accent shines through in his fervent vocals as he sings about a women who lifts him up: “Dressed in gold/ She don’t need luck, she’s bringing her own/ When the light is gone look into my eyes and tell me I’m wrong/ When you’re aflame/ The morning sky is never the same/ We’ll bring you back to another fabulous Friday Night.” Francesca seductively croons her reassuring response: “Reset the sunset, let us start again/ To live a life that never ends/ Like gold in the black/ Gold in the black (like a Friday Night). ”
The song is so damn infectious, and I love it more with each listen!
The colorful psychedelic and surreal video was produced, directed and edited by Oskar. It features him and I’m guessing his sister Elin represented as dancing gold figures, as well as his mouth colored gold and blue singing the song (similar to the famous Rocky Horror Picture Show scene for the song “Science Fiction Double Feature”) set against a background of instruments and a kaleidoscope of patters and colors. It’s fantastic, so do watch and listen:
While most singer-songwriters tend to express themselves through their music to one degree or another, Tyler Costolo really bares his heart and soul on his songs. And like a number of musicians, The Fort Lauderdale, Florida-based singer-songwriter and multi-instrumentalist has chosen to articulate his feelings through song under a unique moniker to identify his music project. In Tyler’s case, there are two of them: Two Meters, which he created in 2018, and more recently, Ghost Fan Club, which he started earlier this year.
The music he creates as Two Meters has an edgier, more experimental vibe, with unconventional melodies and time signatures, heavily-textured guitars, harsh industrial synths and unusual lo-fi ambient sounds. Together with his distinctive off-kilter and monotone vocals that go from gentle whisper to impassioned screams, Two Meters’ songs are haunting, sometimes beautiful, and often startling. Under Ghost Fan Club, which he calls his “emo partner to Two Meters”, Tyler explores his softer side, with music consisting of mostly strummed acoustic and electric guitars, accompanied by more understated synths, drum fills and vocals. But with both projects, his deeply personal and honest lyrics explore the dark themes of loss and death.
He’s released a few singles as Ghost Fan Club, his latest of which is the poignant “Speak to Me“, which dropped August 14. Released through the independent label Knifepunch Records, the song was written recorded, produced and mixed by Tyler in his bedroom. It’s a very short track, running only one minute, twenty seconds, but makes quite an impact in that brief time. The song was inspired by Tyler’s memories of his mother: “One thing I didn’t consider when my mom passed away is that I’d eventually forget the sound of her voice.”
The song has a languid, moody vibe, but with an air of hopefulness. Over a reverb-heavy jangly guitar riff, Tyler layers sparking synths and gentle percussion to create a haunting, yet enchanting soundscape. With his soothing, breathy monotone, he expresses out loud his mental conversation with his deceased mother, telling her that he misses her and wishes he could hear her voice: “When I wake up I miss you most. I stay haunted by your Ghost. Speak to me, so I don’t forget your voice.” It’s positively sublime.
1. HALLUCINOGENICS – Matt Maeson (2)
2. BLACK & WHITE LOVE – Beating Hearts Club (3)
3. HOW WILL I REST IN PEACE IF I’M BURIED BY A HIGHWAY?// – Kenny Hoopla (1)
4. HONEYBEE – The Head and the Heart (5)
5. PSYCH FILM – Strangely Alright (7)
6. SOMEONE ELSE – Rezz & Grabbitz (8)
7. CARDIGAN – Taylor Swift (10)
8. FIRE – Black Pumas (11)
9. IF NOT FOR THE FIRE – The Million Reasons (4) 20th week on list
10. MONSTERS – All Time Low featuring blackbear (14)
11. HELL N BACK – Bakar (6)
12. LIVING IN A GHOST TOWN – The Rolling Stones (9)
13. HEAVEN IS HEART – Jaded Jane (15)
14. NOT OK! – Chaz Cardigan (18)
15. STRANGERS – Mt. Joy (13)
16. SWIMMING CLOSER – HAZY (19)
17. IT’S YOU – The Frontier (20)
18. LEVEL OF CONCERN – twenty one pilots (12)
19. MY OWN SOUL’S WARNING – The Killers (21)
20. CAN I CALL YOU TONIGHT? – Dayglow (22)
21. MARIA – Two Feet (16) 20th week on list
22. DON’T LET ME DOWN – Milky Chance featuring Jack Johnson (17)
23. DOWNS – Roadkeeper (27)
24. ZEN – X Ambassadors, K.Flay & grandson (29)
25. WATERMELON SUGAR – Harry Styles (N)
26. MY FUTURE – Billie Eilish (N)
27. LEMON DROP – Absofacto (23) 20th week on list
28. BACK TO HIM – Soricah (30)
29. REAL LONG TIME – White Reaper (24)
30. HOODIE UP – MISSIO (N)
Blight Town are a relatively new five piece alternative/math rock band based in Nottingham, England. Formed just a little more than a year ago, the band consists of brothers Jake (vocals) and Sam Hough (guitar), Will Emmerson (guitar), Scott Taylor (bass) and Joseph Smith (drums). Together, they combine elements of progressive, math, pop and metal rock with powerful instrumentation, complex time signatures and a dramatic mix of screamo and melodic vocals to create their unique and wildly explosive sound.
Last September (2019) they released their terrific debut single “Jejunum”, and on August 8th they returned with “Argument Bargument“, the cheekily-titled second single from their forthcoming self-titled EP, due out later this year. The band states that the song is “A wistful retrospective on the transient nature of modern relationships and the lengths we will go to in order to rationalise our lived experience.”
The song opens with an enchanting strummed electric guitar that gradually becomes enveloped in wobbly reverb, piquing our interest as to what’s about to ensue. Suddenly, our ears are hit with a burst of chaotic gnarly riffs, throbbing bass and aggressive drumbeats as the song evolves into a rousing, melodically complex and discordant banger. Amid some lovely guitar noodling that punctuates the otherwise tumultuous proceedings, Jake’s vocals gymnastics are a thing of wonder as he either sweetly croons or scarily screams the lyrics. At first listen, I found his screamo vocals a bit off-putting, but after a few listens they grew on me to the point where I cannot imagine the song sung any other way. The contrast between his smooth and harsh vocals nicely complements the sense of tension and discord expressed in both the electrifying music and lyrics.
“Argument Bargument” is a brilliant song, and if it and “Jejunum” are any indication, their EP is sure to be a winner.
Yeah, been throwing pennies down a wishing well “Oh, what the hell?” I thought I always knew that I would wish you well You never wanted an argument, well now you’ve got it And that’s why they call me the cynicist
Yeah, it’s so quiet When you go to sleep But we retire We get busy, getting busier
Were not leaving, didn’t expect you would show (Sore eyes, dead brain) I’ve been reading, I think I’m losing control (Sore eyes, dead brain)
You know I’d appreciate Being kept in the loop Yeah, you know I’d appreciate if somebody could tell me Why what I did was so wrong
Don’t try to ghost me ‘Cause you don’t see through me It’s beautiful It ends too soon
That Hidden Promise is the music project and alter ego of British singer-songwriter and multi-instrumentalist Wayne Lee. Based in Somerset, England, he’s been recording and performing under that moniker since 2011. The talented and versatile fellow writes his own songs, creates all his own music, including beats and percussion, and plays acoustic and electric guitar. He’s produced an extensive catalog of alternative and pop-rock music over the past nine years, often incorporating blues, post-punk, folk, electronic, psychedelic and shoegaze elements into the mix, resulting in a varied and eclectic sound, and delivered with exceptional guitar work and vocals that remind me at times of Bob Dylan.
I first featured him on this blog in May 2017, when I reviewed his single “All Things, All Will Come”, then again in October 2018 when I reviewed his wonderful all-acoustic EP Drifted Hope. In August 2019, he released a compilation album All Things Here, Till Now (2011-2018), a sort of greatest hits album volume one, featuring 22 of his best recordings over that seven year period, including the five songs from Drifted Hope. Many of the tracks are really excellent, and I highly recommend my readers give them a listen on one of the music streaming platforms listed at the end of this review.
Now he returns with “You Can Have the World“, the lead single from his forthcoming album Who Knows Now?, scheduled for release in early October. The album was entirely self-produced and recorded between March and May 2020, and Lee explains that many of its songs explore the subject of “trying to understand where we are individually and as a society, hence its title ‘Who Knows Now?‘” He further elaborates “The concept behind the single, is of someone looking into a city and world riven by division, chaos and revolution, whilst seeing the potential to rise through sacrifice and failure and up against a system all too quick to take the credit.”
The song blasts open with an onslaught of chiming and fuzz-coated gnarly guitars, accompanied by thunderous percussion that never lets up for an instant. Lee’s intricate guitar work is nothing short of spectacular as he delivers an explosive torrent of ever-changing textures that go from beautifully melodic to aggressive buzz-saw to screaming distortion. It all serves to create an electrifying and powerful backdrop for his plaintive vocals, driving home the urgency expressed in his biting lyrics. I think it’s one of the best songs he’s ever recorded.
As the city breaks down I will look across and smile For a thousand times or more, I’ve seen it die
A silhouette of reflections A beating heart of righteous rage Brings us to a point of certain change And it goes And it goes Again
You can have the world If you’re gonna pay Though have you got the nerve To fail again and again Those who lead won’t keep you down They may seek acclaim But it’s clear If I win, If I fail In this world Ain’t a damn thing to do with them
Aishia is a lovely and talented young singer-songwriter who’s also gracious and kind, a rare commodity in an industry filled with oversize egos. Born in raised in Mumbai, India and now based in Kuala Lumpur, Malaysia, she began studying Indian classical music when she was just five years old, but later developed an interest in western music and started taking lessons from a renowned vocal teacher in Malaysia. Building on her natural vocal gifts, her lessons have paid off well, as she has developed a rich and captivating vocal style.
When she was 11, she became obsessed with the music of Taylor Swift, and started writing her own songs. She recalls “I realised that she wrote and performed [her own songs], and therefore I ventured to do the same. I wrote about everything from my daily life to fantastically fictional tales about love and heartbreak. Most of these old songs will never be published, but they did help me become the songwriter that I am today.” Now 19, she is currently studying music production and sound engineering from Point Blank Music School, London.
In January 2019, Aishia released her enchanting debut single “Aura of Gold (The First Meeting)” (you can read my review here), then followed that March with her similarly-titled album Aura of Gold. Co-written and produced by Malaysian composer and music producer Zameer, the album is a stunning experimental concept work. The two wanted to create a cinematic environment through which its music could successfully tell the story of two people who fall in love, but eventually have to part ways due to events beyond their control. In April of this year, Aishia released her single “Turning Waters”, then followed with “Girl in Violet Clothes” in June. Now she returns with her latest single “Oceans Roar“, a sultry track that explores the feeling of being head-over-heels in love. Once again, the song was produced by her frequent collaborator Zameer.
Together, the two have created a steamy love song that’s a perfect tune for summer. Over a languid, pulsating dance beat evoking the fever of strong sexual attraction, Zameer layers a mix of techno and deep House synths that add to the song’s sensuous vibe. He even includes whoosh sounds to help us imagine waves crashing on a beach. Aishia has a beautiful, emotive singing voice, and here she summons her seductive vocal powers to express the intense romantic ardor described in her lyrical love letter. It’s a wonderful song.
I could find a hundred ways To tell you how I feel today Makeup’s on that vintage face Cycles, hot summer days I like it when it doesn’t rain Will you tell me all you want to say?
Glittering wings of light Starting to take flight But you know that I’ll be by your side
Cause oceans roar, with your tones You’re the one I adore Oceans roar, oceans roar
Found out what I wanted to say I’ll write it, on a piece of slate Chalk marks, painted on your chest Ice creams, frozen popsicles Come with me to eternal grace I’ll show you, how beautiful you taste
One of my favorite albums from the 1970s is the monumental double album Goodbye Yellow Brick Road by Elton John. While I don’t feel it qualifies as a true masterpiece, I think it comes pretty close, and is an album I’d want to have with me on that proverbial desert island. Though my younger sister became a rabid Elton John fanatic from the moment he released his tender and heartfelt debut single “Your Song” way back in 1970, it took me a while to warm up to him and his music. I mean, I liked him well enough, but can’t say I became a huge fan until the release of Goodbye Yellow Brick Road (though I now more fully appreciate the brilliance of his early albums like Tumbleweed Connection and Madman Across the Water.)
Since its release in 1973, the album has sold over 30 million copies worldwide, and is widely considered John’s finest work. It contains several of his signature songs like “Bennie and the Jets”, “Goodbye Yellow Brick Road”, “Candle in the Wind” and “Saturday Night’s Alright (For Fighting)”, as well as the epic – and my personal favorite – “Funeral For A Friend/Love Lies Bleeding”. The album was inducted into the Grammy Hall of Fame in 2003, and ranks #91 on Rolling Stone magazine’s most recent list of the 500 greatest albums of all time, although at the time of its release, the magazine gave it a negative review: “This new record is a big fruity pie that simply doesn’t bake. But, oh lord, how it tries.” Well, that reviewer sure ended up with pie on his face!
Bernie Taupin wrote all the song lyrics for the album over a period of two and a half weeks, then John composed most of the music in three days while staying at the Pink Flamingo Hotel in Kingston, Jamaica. He’d wanted to write and record the songs in Jamaica partly because the Rolling Stones had just recorded their album Goats Head Soup there. Unfortunately, difficulties with the piano and sound system, as well as logistical issues arising from the Joe Frazier-George Foreman boxing match and unrelated political protests then taking place in Kingston, caused him and his musicians to rethink their plans. They ended up recording the album at Château d’Herouville, the same studio in France where he’d previously recorded Honky Château and Don’t Shoot Me I’m Only the Piano Player.
Though not a concept album per se, many of its songs touch on disillusionment and a nostalgia for a childhood and culture left in the past. The artwork for the album was fabulous, both inside and out, and vividly displayed in a tri-fold format. The outside cover art was created by Ian Beck, and inside illustrations were drawn by David Larkham, Michael Ross and David Schutt. Here’s a photo of two-thirds of the inside, which features a drawing and lyrics for each track:
Given all the flamboyance, tabloid sensationalism, fame and infamy of Elton John’s illustrious and colorful career, it’s easy to sometimes overlook the fact that, in addition to being a great composer and vocalist, he’s also an incredible pianist. Perhaps no other song showcases his piano-playing skills than the epic album opener “Funeral For A Friend”. Together with its companion track “Love Lies Bleeding”, the fantastic 11-minute long piece is a grandiose and dramatic melding of classical music and progressive rock, and was reportedly conceived by John as the kind of music he wanted played at his own funeral. I was blown away the first time I heard it, and to this day it remains my all-time favorite of his many great songs. The bittersweet lyrics of “Love Lies Bleeding” tell of a lost love: “Oh it kills me to think of you with another man. I was playing rock and roll and you were just a fan, but my guitar couldn’t hold you so I split the band. Love lies bleeding in my hands.”
Next up are three of his most famous and beloved songs. The beautiful piano ballad “Candle in the Wind” is a sort of tribute to Marilyn Monroe, with lyrics spoken from the perspective of a fan trying to reconcile the myths and legends attached to the legendary and tragic actress. “Loneliness was tough. The toughest role you ever played. Hollywood created a superstar. And pain was the price you paid. Even when you died, Oh the press still hounded you. All the papers had to say was that Marilyn was found in the nude.” (The song was later reimagined in 1997 as a tribute to Princess Diana after her own tragic death.) Davey Johnstone’s guitar work is particularly outstanding on this track.
The stomping glam-rock gem “Bennie and the Jets” is, according to Bernie Taupin, a satire on the greed and glitz of the early 70s music industry. John was initially set against releasing it as a single, as he thought it would flop, but it went to #1 in the U.S. and Canada, and endures as one of his most popular songs and biggest hits. Unfortunately, the song was (and still is) overplayed to death on the radio, and I grew tired of it decades ago, though I still acknowledge its brilliance. The title track “Goodbye Yellow Brick Road” is probably my second-favorite track on the album, as I love the great piano-driven melody and soaring vocal harmonies in the choruses.
John’s brilliant piano skills are also strongly evident on the folk-inspired “This Song Has No Title”, the exuberant “Grey Seal”, the haunting, cinematic torch song “I’ve Seen That Movie Too” and the dramatic tour de force “The Ballad of Danny Bailey (1909-1934)”, with its bouncy honky-tonk style piano and sweeping orchestrals. “Jamaica Jerk-Off” is a fun, reggae-infused nod to the place where John penned his lyrics, and is one of the lighter tunes on the album. A song that piqued my sexual curiosity when the album came out (I was 19 at the time) was “All The Girls Love Alice”, with lyrics that tell a tragic story of a young lesbian who died in the streets. Though the lyrics are depressing, I love the powerful driving beat, abrasive, wobbly synths and distorted psychedelic guitars that give the song such an edgy and dangerous vibe.
Side 4 is the weakest part of the album overall, keeping it from being a perfect work in my opinion, though none of the tracks are terrible. John and company dial up the energy on “Your Sister Can’t Dance (But She Can Rock’n’Roll)” (probably my least-favorite track on the album, as I’m also not a fan of his big 50s throwback hit “Crocodile Rock” either) and “Saturday Night’s Alright (For Fighting)”, which I do like, mainly for its hard-driving and edgy vibe, great piano and guitars. “Roy Rogers” and “Social Disease” have an Americana vibe, a genre John has visited many times through his career with varying degrees of success, and he succeeds pretty well here.
The final side is redeemed by the sultry closing track “Harmony”. The song is a piano-driven love song with more of those sweeping orchestrals and John’s wonderful vocal harmonies. He assures his recalcitrant loved one Harmony that she and he are pretty good together and may as well make a go of it: “Harmony and me, we’re pretty good company. Looking for an island in our boat upon the sea.”, ending things on an optimistic note.
1. HOW WILL I REST IN PEACE IF I’M BURIED BY A HIGHWAY?// – Kenny Hoopla (1)
2. HALLUCINOGENICS – Matt Maeson (3)
3. BLACK & WHITE LOVE – Beating Hearts Club (4)
4. IF NOT FOR THE FIRE – The Million Reasons (2)
5. HONEYBEE – The Head and the Heart (6)
6. HELL N BACK – Bakar (5)
7. PSYCH FILM – Strangely Alright (8)
8. SOMEONE ELSE – Rezz & Grabbitz (9)
9. LIVING IN A GHOST TOWN – The Rolling Stones (10)
10. CARDIGAN – Taylor Swift (N)
11. FIRE – Black Pumas (13)
12. LEVEL OF CONCERN – twenty one pilots (7)
13. STRANGERS – Mt. Joy (12)
14. MONSTERS – All Time Low featuring blackbear (14)
15. HEAVEN IS HEART – Jaded Jane (15)
16. MARIA – Two Feet (11)
17. DON’T LET ME DOWN – Milky Chance featuring Jack Johnson (18)
18. NOT OK! – Chaz Cardigan (19)
19. SWIMMING CLOSER – HAZY (20)
20. IT’S YOU – The Frontier (21)
21. MY OWN SOUL’S WARNING – The Killers (23)
22. CAN I CALL YOU TONIGHT? – Dayglow (27)
23. LEMON DROP – Absofacto (16)
24. REAL LONG TIME – White Reaper (17)
25. MAYDAY!!! FIESTA FEVER – AWOLNATION featuring Alex Ebert (24)
26. WOLVES – MISSIO (28)
27. DOWNS – Roadkeeper (30)
28. LAY YOUR HEAD ON ME – Major Lazer featuring Marcus Mumford (22)
29. ZEN – X Ambassadors, K.Flay & grandson (N)
30. BACK TO HIM – Soricah (N)
ECLECTIC MUSIC LOVER 