Ears Like a Hawke
Let's Connect!! --->>>
  • Home
  • Song of the Day
  • Album Reviews
  • Artist Studies
    • Steely Dan
  • Industry Happenings
  • Friends of the Hawke

Beyonce - "Lemonade"

1/4/2017

0 Comments

 
Picture
2017 Grammys Nominations:
  •  - Record of the Year, "Formation"
  •  - Album of the Year
  •  - Song of the Year, "Formation"
  •  - Best Pop Solo Performance, "Hold Up"
  •  - Best Rock Performance, "Don't Hurt Yourself" (feat. Jack White)
  •  - Best Urban Contemporary Album
  •  - Best Rap/Sung Performance, "Freedom" (feat. Kendrick Lamar)
  •  - Best Music Video, "Formation"
  •  - Best Music Film, "Lemonade"


No slick intro y'all. I've been waiting too long for this one.


"Pray You Catch Me" opens things up with some vocals that just slightly bring in the sound, easing you into the album. Kevin Garrett spoke about this being an incredibly honest track when he talked ot Billboard about the creation, where Beyonce's voice seemed to be the last component. Really interesting way to begin an album, as normally the soul-bearing is saved for later one. But, much like the video, "Hold Up" dives more into things, almost giving a middle finger to the attempt at being what the world wanted and stand up for what you are.

Now, I'll admit that I haven't seen the HBO special - I'm getting most of my visuals (and music for that matter, yay for exclusive agreements...), but I'm doing the best I can. This first video I'm seeing is the one I think everyone had been talking about - Bey beating the crap out of things with a baseball bat, not hiding anymore, and, like I said, non-apologetically being herself. This might not be the beautiful voice that you're used to, taking on a husky, almost growling tone, but like I said - we don't get an opinion here, or at least one that she cares about.

I was most excited to see a Jack White collaboration in here with "Don't Hurt Yourself." What everyone says is true - you can absolutely hear the Jack White influence here (not to mention some lines that make you wonder how things are at home for the queen and king). It's a really different collaboration and shows kind of new sides of both artists. She straddles the lines between R&B and rock, with a genre sort of hard to pin down. "Sorry" goes back into the R&B mode completely though. The beat alone does it, while she stays pretty original in the production.

"6 Inch" features The Weeknd - and their voices work great together. But holy crap the beginning of this song is kind of terrifying. I get it, you can do anything you want because you're Queen Bey, but this is really intense. I think it's about here I'm having the realization I should watch that HBO special, because listening on a track by track basis might very well give me nightmares. 

Okay, well, maybe not this one. "Daddy Lessons" is how Beyonce proves she can touch just about any genre and make it work. She teams up with The Dixie Chicks for this one (as you may have seen on the CMAs this year). It's a Louisianna inspired sound with some southern inspiration all-around. I will not be ashamed if this one becomes my easy favorite on this album.

We go back to the 'regular' sound with "Love Drought" which is apparently aimed at Parkwood and lying label execs. The explanation, much like the video on its own, is confusing as hell. "Sandcastles" tones it back down a bit, with gospel inspired lyrics and sound. It's emotional and probably the song most befitting the label of ballad on the album, though "Forward" seems to be close as well. This one was written by James Blake, who mentioned that Blue Ivy was even singing along in the studio to this short tune.

"Freedom" brings us another Grammy nomination, and features Kendrick Lamar. I don't normally let other people describe music on my behalf, but Pitchfork may have gotten it right, with editor Britt Jullious commenting "After songs of paranoia, anger, and revenge, we finally get a song that speaks truth to Beyoncé’s deep well of feelings. Bathed in psychedelic, synthetic organs and a propulsive drum beat, the track cuts straight, providing an alternative narrative of personal redemption. It is also the explanatory work on Lemonade." Hey, let's not deny the 'experts.' Personally this is much more along the lines of what I was hoping to hear.

"All Night" seems to evoke the reconciliation of whatever totally fell apart in the relationship on this album. It's more of a somber, sweet song, which we didn't get a ton of throughout this album experience. But that seems to be what she was going for - an experience, not just a selection of songs. 

And with that, we're on the last and most well-known track, "Formation." I don't think I've actually heard this since the Super Bowl. I think I liked it better then. Okay, hold out girl. This is Beyonce - it's got to get good. This is a theme song about (I love this word) a "Texasbama" girl. 


Stuff I Wouldn't Mind Hearing Again:
  • ​"Daddy Lessons"
  • "Freedom"

Look, I'm with y'all - she can do no wrong. This album asn't wrong. It was just different. And tha'ts just fine. There was something for everyone here though, and kuddos to pulling that off. Massive respect, and no surprises.

0 Comments

Adele - "25"

1/3/2017

0 Comments

 
Picture
2017 Grammys Nominations:
 - Record of the Year, "Hello"
  •  - Album of the Year
  •  - Song of the Year, "Hello"
  •  - Best Pop Solo Performance, "Hello"
  •  - Best Pop Vocal Album
  •  - Producer of the Year, Non-Classical, "Million Years Ago," "Water Under the Bridge," "Hello," and "Send My Love (To Your New Lover)"

Oh come on, who didn't see all of those nominations coming? This is Adele we're talking about. Beloved, pined for, finally back Adele.

I think I like her trend of numbering the albums by her age, showing personal growth through the times (if we really need to derive meaning from the titles). This one comes after a baby and lots of time off. The last go-around was every girl's heartbreak record, but Adal describes this one as a "make-up record." She notes that it's more about nostalgia and looking back and regret. She also worked with a lot of new collaborators and critics did note the different sound she seemed to go with this time around.


We start with the acclaimed "Hello" that brought Adele back into the public spotlight. This seems to me to bridge the old and new Adele sound, with the start being so solemn and classic vocally for her, but launching into this much harder and intense song wiht more full backing. I will admit I didn't really love this at first - it's hard to relate to personally when you're not at that place in your life. But there are lines that tug at the heartstrings, easily, somehow.

I know concept albums are unheard of these days, but this one already seems to be telling a full story. We move from the introduction of where we're at to "Send My Love (To Your New Lover)" - she's on the other side, and wishing him well. Or, at least, that's where I'm at here. So then, is "I Miss You" the re-longing for that person? In it's simplest terms, sure. It sounds like torture. And this is all sounding like my oen experiences at 25. Damn it Adele. Damn it. Musically, we are definitely getting more of the pre-described 'more rhythmic' sound we were told about. See how I changed the subject there?

"When We Were Young" is one of the most heartbreaking songs I've ever experienced (duh, look at the artist), yet it's almost as equally happy. It's got that acceptance tone, and while she did mention regret was the basis for a lot of these, I don't hear that quite as much. But leave it to the interpreter I suppose. I mean, how sad to think this would be the last time, but how sweet to remember on.

If you were looking for that classic Adele sound, "Remedy" is going to be your jam. Piano, deep vocals, and longing upon longing upon longing. It's tragically beautiful. But she only gives you that classic breath for a moment - "Water Under The Bridge" picks up the pace considerably. This is kind of amazing actually. I didn't know her voice could do this kind of more upbeat music (don't stone me - I didn't totally doubt it), and it's fun while meaning something. 

"River Lea" has me just a little confused, and I think it's because here we go a little wonky with the reverb. I only need so much mystique to these vocals, and this is just slightly too much. I could let this grow on me, but right now it's just kind of the meh track in the middle. But then we launch into the incredibly depressing "Love In The Dark." Maybe there might be a sense of saving yourself, but when you end with the line "you can't save me," it takes a lot of hope to believe that.

We go very internal with "Million Years Ago." A Spanish guitar seems to be the base backing, giving the song a really unqieu sound. Adele sings out a lot of reminiscing lines, remembering people and times that hav elong since escaped her life. You came here to cry? Oh, great, got it.

"All I Ask" is probably equally sad, but the driving piano gives it some kind fo hope and upswing. She's fully aware that the goodbye is coming, but making it a good goodbye. Kind of brings "When We Were Young" back into perspective, if you're approaching it all that way. Oh check out that key change too! Well that was an interesting addition. And just enough of the normal that we're ready for an adnormal tune to end things with, "Sweetest Devotion." Maybe we've found that sweet ending make-up she mentioned before we started? The vibe is definitely a happier, accepting one. It's actually quite a gorgeous flourish of music to end on.


Stuff I Wouldn't Mind Hearing Again:
  • ​"Hello"
  • "Send My Love (To Your New Lover)"
  • "I Miss You"
  • "When We Were Young"
  • "Water Under The Bridge"
  • "Love In The Dark"
  • "Sweetest Devotion"

I won't say I've out-grown Adele by any means, but the beauty of music is that we can have our own, personal reflections on it and take away meanings that perhaps no one else does. So for many, this could be another sad Adele album, but my perspective squews the songs to work for my own needs. And that has actually made this experience all the greater.

The music on this show growth and desire to expand as an artist for Adele. While maybe it's not what everyone was expecting or necessarily what everyone wanted, Adele has proven to be nothing less than a true artist, always creating and feeling.

0 Comments

Brothers Osborne - "Pawn Shop"

1/2/2017

0 Comments

 
Picture
2017 Grammys Nomination:
  • Best Country Duo/Group Performance for "21 Summer"

I developed a mild obsession with "Stay A Little Longer" last year (seriously - already planning on it being the end of night song at my wedding reception). Then, I discovered the demo version, which was even better. They followed that up with "21 Summer," which just feels amazing. So, to say that I'm looking forward to hearing the whole album is an understatement.

Maryland natives T.J. and John have been at this since high school together, and have had a really nice steady rise through the ranks of country music. This is their debut album, even after a few other song releases over the past few years, but let's hope this is great and there's more to come.


We start off with some hard picking and "Dirt Rich." T.J.'s voice is lower then you get tho hear in country these days, and carries things in a rough and cool kid of way. There's so many people ou tthere who complain country's gotten too poppy, or that they hate how twangy the old-school stuff is - well, here's your happy middle ground. They contrinue that straight into "21 Summer" is that reminiscent summer track that we all can appreciate from some time in our lives. It's a steady track with memories strewn throughout, and it almost feels like you can hear the sweet summer wind on the beat. And god, how does you're heart not break with the lyric "you're the only broken heart I had and would love to have again"??

"Stay A Little Longer" calls that summer love - and any love - right back. From the opening line so gracefully sung through the incredible guitar solo work done in the last minute or two, this song is just wonderful. It's like you can't give up the love, the song, the feeling - any of it. One more time is, indeed, not enough. 

We do have to move on, and things get a little grittier with the title track "Pawn Shop." This is downright funky as far as country music goes, with such great string work. The production style is really interesting too, with some echo work off the mics. It lightens with "Rum" (also, this was an early-on single) though, yet the beat's still there. This one come across muc hmore as an old saloon sound, close to a demo version. Really stark contrast, but a nice breath in the middle.

Lee Ann Womack joins the boys for "Loving Me Back," a smokey back-room song, deep and slow. And god I love a good country song that compares drinkin' to lovin', no matter how sad. 

And in a completely different direction, we get "American Crazy." You know those sweet all-American songs that make you feel great about being a down-home kid? Yeah, this is like an honest look into that. it points out our faults and accepts that.  They flip that right into "Greener Pastures," a song that cusses and mentions drinking and smoking pot. Ladies and gents, this is not your old clean-cut country group.

"Down Home" seems to answer all of this, with a gospel backing and the quick-witted and quick-talking TJ not taking a break. Country tends to talk about being country, especially because it's why a lot of people listen. This is answering that call. If that one was about the hometown, "Heart Shaped Locket" is about the girl from there. Kind of love the steady nature on this one, not to mention the boy being amazed at love. Silly boy.

​We end it all with a Chris Stapleton-esq song in "It Ain't My Fault." (Great timing, right?) Damn this is a good way to close it all out. The sound is intense but still rocking enough to be enjoyable. It's got that party sound we need with the sing along-ability that we want.


Stuff I Wouldn't Mind Hearing Again:
  • "21 Summer"
  • "Stay A Little Longer"
  • "Loving Me Back"
  • "Greener Pastures"
  • "Heart Shaped Locket"

I've listened to this album before, but never this intently (which is usually the case if I haven't reviewed something yet. Worth the wait, absolutely. I have no idea where there next single is coming from (maybe "Heart Shaped Locket"?) but this was worth listening to in its entirely. These guys are a great new duo in the country scene, and we're lucky to have them around.

0 Comments

(Miles Davis) & Various Artists - "Miles Ahead"

1/1/2017

0 Comments

 
Picture
2017 Grammys Nomination:
  •  - Best Compilation Soundtrack For Visual Media

  • So we're diving back into the Grammys for this year! We'll start things off with this soundtrack for "Miles Ahead," a Don Cheadle movie following Miles' life and music. Nope, I have not seen the movie, but that's what Google searches are for.

This is a time-jumping movie apparently, following the stories as told to a music reporter. The soundtrack similarly skips between Davis' original tracks and covers done by other artists. Let's see how it all shakes down. 


The soundtrack/movie title track starts off with "Miles Ahead," launching with the familiar jazz sound of the trumpet playing out. This is Miles himself, fittingly. I forget how enjoyable light jazz can be until you can listen to it in a relaxing setting like home. The piano takes over about halfway through, and while everything may be somewhat planned, the feel of iprovisation is really great.

Quickly, Don Cheadle chimes in with a one-liner in "Dialogue: It takes a long time..." and we're taken into the next track (again, Miles himself) with "So What." Much more rythmic and steady, this one has an executed plan of attack and beats. The unpredictable nature is gone for the most part. It's not bad by any means, but the sense of attack is a whole different kind of jazz feel. Even as the sax seems to take back up the improv nature, it feels much harsher and loud, controlling the song more than playing it along.

"Taylor Made" takes things in a different direction, with Taylor Eigisti taking just a minute on the piano and impale the senses in a completely different way. Soon though, Don is back with "Dialogue: "Listen, you talk too goddamn much..." as he yells at what I would imagine is the engineer as he tries to record (accompanied by Phil Schaap. That bit of agrument and frustration plays out in the next Davis track, "Solea - excerpt." This is harsh on the ears, and not at all in the realm of smooth. It's a minute of really scratching, minor notes, leading into a marching rhythm of an almost latin-esq tune.

We seem to pick the mood back up with "Seven Steps to Heaven - Edit," with a much faster pacing and party style. Seems like whatever funk Miles had hit, he's pulling out of it now. This begs the question of what is happening in the movie at this point, as the soundtrack seems to be tellig its own story along the way. 

"Dialogue: If you're gonna tell a story..." switches gears as Don gives songwriting advise about coming in with an attitude - something I don't totally get out of the follow up song "Nefertiti - Edit." Or maybe it's a sullen attitude, not necessarily the type that we're used to associating with that word. Either way, this track is a smooth horn duet, almost borderlining a larger band scale sound. This trend is continued into "Frelon brun." It's sort of astounding to realize, let alone hear, the range of a jazz musician. We're aware of genres within country and rock, but this one doesn't as often hit.

I do like how the dialogue tracks break this up into portion, so you can follow along a bit more. "Dialogue: Sometimes you have these thoughts..." brings us into "Duran - Take 6 Edit." And again, we have a shift in style. This is more smokey, back corner of the club music. The bass is keeping beat, and we're left to feel it through.

Instead of another track, we're into "Dialogue: You own my music..." and into yet another musical shift. This is funk now, which I suppose could easily be another version of jazz. It's a little messy, but maybe that's what makes it more special. This, by the way, is "Go head John - part two C." I would even venture to point out that there are a few more electronic elements as we go through now, just a sign of the ever-changing times and themes. And my point is proven as I'm woken up to the ethnic beats of "Black Satin - Edit." I need to see this movie to understand, clearly. I've never felt so ill-educated on a performer.

"Dialogie: Be musical about this shit..." seems to give some kind of perspective, and this time "Prelude, Pt. 2" comes into play with a different production style. I wouldn't say it's far off from the musical stylings that we've been blated into the past couple of tracks, but the recording is different, using reverb and mic placement in different ways for different sounds. Fascinating.

We seem to come back to the funk and more ear-pleasing style after "Dialogue: Y'all listening to them..." where we're told this is how this shit is supposed to sound. Robert Glasper takes over with the track to emmulate that in "Junior's Jam." It still contains a few meniulated sound elements, but it feels like a more familiar and comfortable style. He seems to keep this going into "Francessence," but now adding a flute to the melody, which is just further evidence of genre growth.

Miles Davis comes back in for "Back Seat Betty," reclaiming the master's throne as he combines the stylings that seemed to all have popped up in the past few tracks. There's new instruments, beats, and production choices happening all around, and it's about now you can take a step back and see how far we've come. I guess Don puts it well with the excerpt clip of "Dialogue: I don't like the word jazz..." (Ewan McGregor is on that one too), because that's clearly where we're at by now. Robert Glasper closes us back out with "What's Wrong With That?" (not currently available Spotify), and then with a clear remix and update on "Gone 2015." For the first time on the album, we have lyrics, and the story of where we are from where we've come.


Stuff I Wouldn't Mind Hearing Again:
  • "Go Ahead John - part two C"
  • "Junior's Jam"

This was really interesting, and served its purpose in a backwards way. Typically you hear the soundtrack after you've seen the film, but obviously that's not how it worked out for me. This was its own separate journey and experience, and I think I almost preferred to do it this way. Now I want to see the film.

Mile Davis is hailed as a legend and influencetial figure, and after hearing this growth and change throughout a career exploration, I can absolutely understand and appreciate why.

0 Comments

Mark Ronson - "Uptown Special"

1/17/2016

0 Comments

 
Picture
2016 Grammy Nominations:
  • Record of the Year, "Uptown Funk"
  • Best Pop Solo/Duo Performance, "Uptown Funk"
  • Best Pop Vocal Album
  • Producer of the Year, Non-Classical
​I remember when "Uptown Funk" came out, just being excited that Bruno Mars was making new music. It was an entirely different feeling realizing he was just the featured artist on a track released by an artist who has been at this game for quite some time.

Turns out, this whole album is supposed to be a smash. This guy is a reknown producer and this time it's for himself. So let's see where this one falls amongst the best of the best out there.


I don't know why I didn't know this, but it appears there's a guest artist on every track. We kick things off with "Uptown's First Finale" with the incredible Stevie Wonder and Andrew Wyatt. Stevie's contribution on harmonica is obvious and welcome against an otherwise incredible daunting background mix of sewer sounds that have no business being on an album. It brings things into a lighter mode too, allowing us to ease into the musical tracks beyond.

Kevin Parker is next up for "Summer Breaking." This one's buzzing like the bees of summer. It's funky and groovy and kind of perfect for the song title's implied mood. I can't make out the words very well at all, but maybe that's the point during the the hazy heat that this seems to give off.
"Feel Right" hits hard and tough right away thanks to the unmistakable contribution of Mystikal. Funny, two artists you arely hear from, joined together on one track. Yet both of their sounds are uniquely theirs. They remain constant in that, and even if it's not necessarily cohesive with my own tastes, that's something respectable.

Then comes on "Uptown Funk" with Bruno Mars, and the album seems to suddenly fall into place. Like, everything else seemed to be building up to this track. It bring the entire idea of hip hop funk to a it's full place. Lyrically it moves through that party mode with just the slightest bit of disrespect that makes it mildly acceptable.

Keyone Starr has the unenviable task of taking us out of the only song universally known to all on the album and into the unknown. "I Can't Lose" maintains the mood of the last song and keeps up the fun dance party. The sound is kind of fascinating - there's the funk aspect but this odd electronic base to it all that makes the genre classification one all of its own.

"Daffodils" brings back Kevin Parker. We're back to a strange backing track that seems from outer space until it breaks into the more appealing beats. Again, Kevin is a little difficult to understand, but that doesn't appear to really be the point here. Instead, you're meant to drift away into the sway.

​Andrew Wyatt returns as well for "Crack In The Pearl." A little more discernible lyrically, this one tells a story. It's slow and steady in mood, letting the whole thing unfold just so. It's a song that things occur naturally through it, instead of forcing certain rhymes and rhythms. It's lazy, but I hope that comes across in the nicest way possible. Really.

"In Case of Fire" kind of takes this back to an older sounding beat. Jeff Bhasker joins in for some reverb style vocals that anyone could groove on into. It's really kind of a great setup here. You want to just wiggle around the room to this, and the pacing is just perfect. How was this one not released as a single? 

In a good middle ground between his other appearance tracks and the awesome nature of that last one, Kevin Parker comes back on for "Leaving Los Feliz." Again, still not a huge fan of the nature of his voice - or, rather, the way they mix it I guess. But this one has a nice backing beat at least that makes it bearable. It's one of the better ones from this album that relies on this artist.

"Heavy and Rolling" brings back Andrew Wyatt as the primary vocalist and my ears back to a happier place. I really wonder why production choices were made in such a particular way for each singer, but it make sit so there almost feels to be two separate artists and albums going on, just trading off track numbers.  

We end things with "Crack In The Pearl, Pt. II." Stevie Wonder and Jeff Bhasker make their final appearances for the album, starting the song off with a cool vinyl sound, leading back into Stevie's harmonica sounds. Jeff and his crew bring things back down into a solemn place, ending things in a slower way that just leaves you feeling calm and secure in the album's completeness.

Stuff I Wouldn't Mind Hearing Again:
  • "Uptown Funk"
  • "I Can't Lose"
  • "In Case of Fire"

So this wasn't the best album I've ever heard, but it is complete. There's a consistent feeling and security in the sound created, and you get the feeling that it's all wrapped up nicely. In that, it's a respectable album, and all makes sense together. So cheers to Mark Ronson for coming back with something solid and presentable that deserves a full listen beyond "Uptown Funk" - even if that truly is the stand out track.
0 Comments

Ed Sheeran - "X"

1/3/2016

0 Comments

 
Picture
2015 Grammy Nominations:
  • Record of the Year for "Thinking Out Loud"
  • Song of the Year for "Thinking Out Loud"
  • Best Pop Solo Performance for "Thinking Out Loud"
It was only a matter of time before I got to this album. Ed Sheeran has remained at the top of my listening lists for a couple of years now, and X (Multiply)was full of even better songs that + (Plus), which I didn't think was possible. This guy is as equally talented of a writer as he is a producer, collaborator, performer, and entertainer overall. I can't overstate how grateful I am that this kind of music is having a mainstream impact if, for nothing else, it's so easily accessible now. I dig a clever lyric, and when you can achieve that in album form, it's a hooking feature.
I broke all of my normal self-imposed rules by listening to this all the way through long before ever doing a review. I had to - Ed must be heard. "One" is completely not the song I would have elected to kick off an album with, but I guess this is actually what the world was expecting from Mr. Sheeran, given the success of "Lego House" and "The A Train." It's solemn and lovely with these little lines about being drunk and in love. Sigh.

"I'm A Mess" picks it up just a little bit. If you've never seen Ed perform live, I highly recommend stopping and checking out some videos online. At least the VH1 performance I saw was a solo effort with pedal perfection. I bet this actually has additional performers and production behind it, but he could probably pull it off either way. The build in this is just amazing. You heart starts racing along with the intensity - it's a rush only certain compositions seem to be able to provide.

As we ease on in to "Sing" I now see the logic in building the album this way. Each song kicks it up another notch. I was really excited when this one hit mainstream radio because it's like some of his lesser-known tracks from "+" that showcase his vocal abilities a little more. The 'singer with a flow' is impressive. And hi Pharrell. I think I saw a story behind this once about how Pharrell told him to take those "ohs" and pull a song out. Damn.

​"Don't" is SO GOOD. Rumor has it that this is all about Ellie Goulding and her crazy decision to cheat on this shaggy-haired man. Insane. Now I, on the other hand, in my hours upon hours of driving, have determined how to make this into a duet. Ed, if you're reading this, it could be magic. Those beats, the harmonies, come on.

Anyone else ever played Final Fantasy X or Final Fantasy X-2? Tell me that piano part in "Nina" doesn't sound like it's straight out of that soundtrack! That's something that's bothered me since the first time Pandora selected it on one of my stations. It's also something that's kept me from loving the song for some reason. It has never made it past that thought.

"Photograph" has been the latest single off of this album, and it kind of returns us to our mainstream Ed Sheeran roots. It's light and gentle and makes you long for someone to sing it to you. Waiting on love? Not quite so easy. But if you can hold onto that little piece, it'll mean something in your heart for the time being. 

Wait, I may have been wrong. Did "Bloodstream" come out on radio more recently? Was it just the more forgettable of the two? I love the steady rhythm of this though, and it does provide a new sound that the album has had yet to experience. It's one of those, like the last album had, that isn't necessarily going to soar to the top of the charts. But for the purists, it's a musical delight.

"Tenerife Sea" is another one that kept popping up on random plays and playlists. It took a while for this one to grow on me. But the more I hear it, really the more lovely and enchanting it is. And he mentions blue eyes, so I'm entranced. The guitar plays on this little Irish/seafaring sound that propels the song along the waves. I've really grown to adore the gentle rocking on this one.

Oh shit son, it gets funky again with "Runaway." Again, just flowing words over a groovy beat you can get down to. I'm actually not in love with the chorus of this song - it takes me out of the moment. But the verses are where this one is at. There are actually catchier moments in those than the main sing-song parts.

"The Man" mentioned "Holocene" directly, just saying. Lyrically, this one's frickin' genius. It's honest and great, and probably one of those tracks people call him a 'wannabe rapper' for. But these are also usually the tracks that he puts out the most honesty with. I don't think it's a bragging rights thing, or even an attempt to hurt someone else. It's just that this guy is his music and his music is him... and I don't give a damn if that's grammatically correct at all.

​Anddddd *swoon*. "Thinking Out Loud" is possibly the most romantic song to come out in the past few years. And the video? Forget about it - the man is now a sex icon for that dance ability. But in all seriousness, this is so absolutely gorgeous that you can't help but get caught up with the romance of it all. It's steady to dance to, and lovely to relax to. It's just about everything a girl could want in a love song.

"Afire Love" might seem like it's letting you come down off of that lovely love high, but listen in - it's the afterwards, like the real, complete afterwards. It's making love and then experiencing the loss. Whew, this is much heavier than I ever realized on casual listening session. But mostly it's the escape into that whole love.

Ah, where the whole "singer with a flow" idea came from - "Take It Back." Goddamn this man is talented. And clever - listen in. I mean it, really listen, and see how he weaves in his own story with pop culture and music references and just... everything. It's rather fascinating. And the fact he can keep that guitar going the entire time is just as admirable, given some of us can even sing a simple song along with the playing.

"Shirtsleeves" is just good and adorable. Okay, adorable isn't the right word to use when the man is singing about thighs... but it's not intimidating. He's got this slight island sound added in that's not overwhelming like so many others tend to be. It actually lends itself to the feel of the music for a change.

​This is one of the only songs that I don't think I've taken the proper time to notice before this listen - "Even My Dad Does Sometimes." I knew it was there, but never truly heard it. It may just be hitting me at the right time, but lyrically, this is so fantastic. The idea of having someone tell you it's okay to let go, to cry, to shake, because even the people to respect the most do it - to know it's okay to be human... we all should be told as much more often.

​"I See Fire" is the final song, and possibly my favorite on the album. It was used for "The Hobbit" movie, but maintains its own spiritual impact even without the images accompanying it. I've got my own associations with it, as the world crumbles around you, you beg for the memory to remain and the strength to be gained from it. You ask to stand together through the worst of it, even when it seems you can't. Then the music builds in the end, and there's pain, but it's warranted and pushes you through to the end.

Stuff I Wouldn't Mind Hearing Again:
  • "One"
  • "I'm A Mess"
  • "Sing"
  • "Don't"
  • "Photograph"
  • "Tenerife Sea"
  • "Thinking Out Loud"
  • "Take It Back"
  • "Shirtsleeves"
  • "Even My Dad Does Sometimes"
  • "I See Fire"

Again, I went into this knowing it was one of my favorite full albums in recent memory. But hearing it a hundred times before did not deter from the enjoyment that was listening again. Ed Sheeran is a musical icon at this point, and in such a different way then so many other people. I never get tired of hearing this all the way through.

0 Comments

D'Angelo & the Vanguard - "Black Messiah"

1/2/2016

0 Comments

 
Picture
2016 Grammy Nominations:
  • Record of the Year​
  • Best R&B Song for "Really Love"
  • Best R&B Album

After a 14 year hiatus, D'Angelo returns with on of the highest acclaimed albums of last year. Apparently this is his return from a dark life downward spiral of drinking, loss, and heartache. Who doesn't love a good come back story?

The tracks have been getting developed for almost 9 years now, alongside Questlove. The rumors have been running rampant and the anticipation was built for years. And while 2011/12 found him back on tour, it was 2014 that brought us recordings as well.
"Ain't That Easy" starts this off with a rather creepy sound lead in, giving way to a decent beat. Okay, the vocals don't lend themselves well to the irritating sound either. I can see how this might appeal to some, but this irks me down to my bones. 

I like the approach with the sermon that "1000 Deaths" starts and seems to carry through. There's music behind it, and the sound is like that through a megaphone. So really, I don't enjoy listening to it. But conceptually, there's something very cool put together here. So I guess you could say that I appreciate the production that went into the creation.

​"The Charade" slows is all down just a little bit. It's somewhere between the D'Angelo we knew and the weird new one we got in the first two songs. I can't understand about half of the lyrics that are happening, though the overall melody is something to groove to.

​Okay, I like the funky little intro to "Sugah Daddy." I even like the melody. The beat never really speeds up, so it remains pretty steady as it goes. I can dig this.

"Really Love" is the nominated song, so you'd expect it to be really great. In reality, greatness might not be there in the bigger realm of music, but the sound is classically D'Angelo, so if that's what they were all looking for in his comeback, then I understand the acclaim. Having never cared one way or the other, I'm bias free launching in, and I can say that in general this isn't my cup of tea.

In just a generally funky number, we get "Back to the Future (Part 1)" and if you're wondering, sure, if you be a part of the movie (if I'd ever seen the whole movie - but that's beside the point here people). I am getting slight flashbacks to one of the Men In Black soundtracks though for some reason. I guess that's not a bad thing.

"Till It's Done (Tutu)" makes me just sink into this feeling that this is a background music album. It's not one that's making me sit up and want to take the words into hard account and act upon them. Instead, it one that could be comfortably grooving on in the background without heavy consideration. It's fine, and that's about all I need it to be.

Oh, right, we're onto another song! See what I mean? "Prayer" slows down just a little, but it's much of the same, There's this added metallic droning in the background that's boring its way into my skull though.

​"Betray My Heart" turns things around a bit with a really funky guitar part. There's some mild scatting even that turns the sound in a cool, new direction. I don't want to degrade the entire album, but by comparison, this is the stand out track.

So there's something incredibly familiar about "The Door." Just in the whistling portion... or really, the melody in general. I can't place it, but it's something we've heard before. There's a cute sing-song element to it that doesn't entirely fit the whole album, but it's okay.

"Back to the Future (Part II)" come up as we're nearing the end. I think what most gets under my skin is that there is a constant group of voices, instead of just one. I get that the "and the..." part of the artist name should allow for this, but it's just not what I would have expected or wanted on this go-around. It's just a little much. I don't want to be overwhelmed.

As if I was heard, "Another Life" strips it back to an individual voice and a piano leading the background instrumentation. It builds though. The voices come back. That taste of simpler times is gone quickly, and then we're done.


Stuff I Wouldn't Mind Hearing Again:
  • "Sugah Daddy"
  • "Betray My Heart"

I try really hard to maintain my musical bias when reviewing. I am really, truly open to all genres and just because I listen to mostly rock music doesn't mean I don't enjoy a good R&B album once in a while. But this just wasn't great enough to break down that wall and make me a believer. It's not something I'm going to invest more time into, and I'm glad it's done.

0 Comments

Rachel Platten - "Wildfire"

1/1/2016

0 Comments

 
Picture
It took me a little while to come around to Rachel Platten. "Fight Song" was the other song that came out right around when my mother passed away, and it was one of those things that everyone assumed would make me feel stronger. In reality, it got under my skin and I started turning it off every time the radio threw it on. 

Then "Stand By You" came out, and something hit me the right way. That became the strength song for me. So seeing, today, that her full length album is out, I'm curious to see how else this girl can punch us musically. 
"Stand By You" starts off the album, like Rachel knew how to draw a smile out of me right off the bat. It's this message that moves me - that you might never find the highest point, but having someone to walk through hell with might make the ride just as good. A 'not the destination, but the journey' sentiment. There's a strength in that realization and the song itself that is encouraging and a great kick-start.

​Now here we go into the real review. "Hey Hey Hallelujah" features Andy Grammer, and is my first new taste of Rachel Platten. I'm into the second verse and am wondering where Andy is in this r&b mixture. There's of layers of vocals happening here - no indication of a solo Rachel singing. And oh, there's Andy. He's kind of a fun addition to the song, I have to admit. The beat is fantastic on this and will have your toes tapping along.

"Speechless" has that weird dragging quality that certain electronic-based songs have. You want them to move faster, but there's something in the backing that holds them back and you feel like the momentum is never really realized. On top of that, there's an airy quality to the vocals, and the song is just difficult to grasp onto.

​Okay so they can't all be perfect, but "Beating Me Up" is a redemptive song for sure. Not that the last one was awful, but we're back on an upwards swing here. I think it speaks volumes to all of us, since we spend so much time putting ourselves down. We don't deserve the undue sadness and shouldn't keep hurting ourselves in that way. Forgive yourselves, please.

"Fight Song" comes up next. Now, if you're really reading, you've seen that I am not a humongous fan of this due to the timing in my life. That's not the say that the song isn't a good one. I get why people love it, and hell, given the right circumstances I am definitely into it. Plus, knowing Rachel's not hinging her livelihood on this one song and has more tracks that can back it up just helps further the ability to actually enjoy this.

I was kind of waiting for a love song in the middle of this. "Better Place" is happy to provide. What you want in life, in real love, is someone who enhances your life and your person. This describes that. The line "everything's all right" is sweet and simple and exactly what I know I'm looking for. I think what strikes me as the nicest thing here is that you could strip all the production away and just have this with a voice and a guitar, and it would be just as lovely and true.

"Lone Ranger" is intriguing as a title alone. I think the concept is good. When you're on your own and figuring it out, this is exactly how you feel. But it's not written well musically to convey that feeling. It's just poppy and airy and not hitting home the way I really want it to.

I feel like "You Don't Know My Heart" is done in a very similar vein. It's fine. It's a pop song. But you can't get it into yourself as closely as you want because the auto-tune drags you out of the feeling. I don't need to hear "he-he-he-heart" said like that.

Now "Angels in Chelsea" has the right mood to match the song. It's airy, and could slip by until you really hone in on the lyrics, which are fitting to that spirit it is sung in. And towards the end, there's a beat that's not altogether right, but I'm trying not to let things like that ruin what was otherwise a song that worked out so well. I'm guessing we're thinking New York in this, and though the neighborhood is specified, it's true of my loves in the entire city and boroughs.

​"Astronauts" is another one that is fitting for the mood and message of the song. We're climbing up and into the atmosphere. If you've ever heard Kelly Clarkson's "High," this is very similar. There's a space-age sound to the music even, and I like the feeling of letting go into the stars.

I think "Congratulations" is an interesting departure from the rest of the album. Strip away all of the layers of instrumentation. This is a tougher, rougher Rachel Platten. The word choices are really fascinating and work so well with the mood. There's just something infectious about the slight sarcasm and write off she handles here. Well played, ma'am.

"Superman" ends the album on a rather somber note. I like that it's affirming to the gentleman its being sung to that he just has to be himself with her, and that's completely enough. It's great. I just guess I expected the album to have a hard finish. "Stand By You" might have even been a good way to finish out. But the farther in the gets, ​the more appropriate it seems. And shit... there's some fuzzy electro thing happening in the bridge that will knock you out of this completely. Maybe one of these days we'll get an acoustic version of this that will make it all make sense.

Stuff I Wouldn't Mind Hearing Again:
  • "Stand By You"
  • "Hey Hey Hallelujah"
  • "Beating Me Up"
  • "Fight Song"
  • "Better Place"
  • "Angels In Chelsea"
  • "Astronauts"
  • "Congratulations"

So this was a great journey. Rachel Platten has a slightly different sound, sort of combining the elements of the dance music Ellie Goulding and Tove Lo have been putting out, with the vocal and lyrical handling that I enjoy from Kelly Clarkson. While I don't know what kind of staying power this girl necessarily has, she did deliver a full album of songs that each stand on their own. It will be interesting to see which makes it through as the next single, and what she'll do next.
0 Comments

2014 Top Albums - SPECIAL EDITION POST

12/30/2014

0 Comments

 
Did anyone else notice that I didn't post a top album list last year?? WHAT HAPPENED???

Okay, deep breaths, it's fine - we're making up for it this year with albums and songs and all is well. 

As per tradition, I didn't get to hear most of this until the past few days. The disclaimer is basically as expected - there's a TON on my written-out list of possibilities that I didn't get to hear, and may very well deserve a spot on this list. However, you've got to go with what hits you right and moves you best, and these albums broke through the chaos to invade these ears.

Can we also take a moment to reflect on surprise album releases? JoJo, Mya, Presidents of the United States, Kylie Minogue, Natalie Merchant, and The Offspring all put out new full lengths this year, and I am slightly in shock. Yet, gotta admit, it's good to know people are sticking to it and creating. It's more than I can say, so kudos to them all.

And now, with that nod, let's hit the Honorable Mentions first. Because I'm an indecisive jerk, here's 15 of them in artist alphabetical order:
Picture
5 Seconds of Summer - 5 Seconds of Summer
Picture
Morning Phase - Beck
Picture
English Oceans - Drive-By Truckers
Picture
Do You Wanna Start a War - Fozzy
Picture
Get Hurt - The Gaslight Anthem
Picture
Old Boots, New Dirt - Jason Aldean
Picture
Primus & the Chocolate Factory With the Fungi Ensemble - Primus
Picture
Sweet Talker - Jessie J
Picture
1000 Forms of Fear - Sia
Picture
Bluesamericana - Keb' Mo'
Picture
Cheek to Cheek - Tony Bennett & Lady Gaga
Picture
Once More 'Round the Sun - Mastodon
Picture
Bulletproof Picasso - Train
Picture
Going to Hell - The Pretty Reckless
Picture
The Veronicas - The Veronicas

10. Hozier - Hozier

For one of this years biggest artists, we're delivered a really interesting album - and I mean that all in the best way possible. "Take Me To Church" is an incredibly unique song, and the album completely lives up to the expectations the song has set.

While I stilll don't completely understand everything Hozier is dishing out, I like the attempts a lot, and it keeps me interested in what's happening next. I think this is not only a contender for the Best New Artist of 2014 category, but a refreshing turn for music in general that we can all appreciate on some level.

Picture
Picture

9. Jack White - Lazaretto

Okay, admittedly, this is one of those "must go on list even if it's just based on a very quick brush-by listen" album. Too much respect for Jack White goes into the decision. He gets a pass.

Plus, the quick overview of the album proves that, musically, this is just as good as anything else he's ever done. It's the same Jack sound of the previous years, with an addictive-ly strange sound that just gets your feet going. While I hate over-hyping absolutely anyone, I get it in this case, and will always and forever be a proud fan and supporter.

8. Original Broadway Cast - Hedwig and the Angry Inch

I swear I'm not just posting this to see Neil Patrick Harris lick glitter from his lips once again. 

This is legitimately a wonderful re-recording with the new cast, and Neil did not disappoint on stage either. The energy of the live show absolutely shines through on this album in every way. It's a pleasure to relive this insanity. 
The show deserved everything this year, and rightfully sits as one of the best soundtracks in quite some time.
Picture
Picture

7. Various Artists - Guardians of the Galaxy: Awesome Mix, Vol. 1 

I don't know if this is fair, given that there's not really any original new music on this album. However, props and points to the compilers for creating a literally awesome mix. Every song on here fits so well, and I haven't even seen the movie itself yet.

Now, I don't know that releasing a cassette version was necessarily smart - not many people have the means to even play it. But, good job on the clever side of things!

6. Rachele Lynae - Rachele Lynae

Shameless friend promotion? Maybe a little.

But in all seriousness, this girl put out one of the albums that I could not keep out of my stereo this year. It's a rocking mix of new country tunes, and I've been told by everyone who's listened to it that they've found at least one song they love on it - with every answer being different, there's really something for everyone.

I stand by this being a collection of great music, and one of the best things to come out this year by far.
Picture
Picture

5. Eric Church - The Outsiders

Eric Church gives a nice throwback sound to country music without getting too hokey. He maintains a great edge to everything he writes, and keeps so much of it relatable while using very personal lyrics. Basically, what I'm saying it, Eric Church could very well be the king of rock country right now and no one realizes it.

If I could just kick back and drive down a dusty road, this is the only soundtrack that I would need. Living in a city kind of kills that hope, but at least sitting behind the computer I can imagine and hope for it.

4. OneRepublic - Native

Every time I heard a new song from this album this year, I fell in love even more. OneRepublic has basically ruled my Pandora this year, and it's been awesome. The lyrics and musical compositions have been off the charts. I think I'm maybe only lost on 3-4 songs looking down the track list - I can sing every other one of them to myself without prompting of the music itself.

OneRepublic is making a big impact on music, even if they're not necessarily getting the crazy recognition some others are receiving.
Picture
Picture

3. Miranda Lambert - Platinum

Come on, y'all know Miranda can do absolutely no wrong in my eyes. She's a powerhouse singer who is at a point where she can put everything from a silly hokey back woods track to a hard-hitting rock song to a tune that'll sweetly bring you back to your roots and what matters in the world on one album. Don't believe me? Seriously, take a listen. It's a wide-ranging mix of songs, but at the end of it they all make sense together.

An equivalent in country as Beyonce is in R&B (okay, I may be exaggerating, but cut me some slack). Miranda Lambert continues this year to bypass her competition by miles.

2. Ed Sheeran - X

Did you know that the actual title of this is "Multiply"? I had no idea until reading something about it. I think in Billboard. Somewhere.

Songs on here have grown on me steadily over the year, with many of the listening moments coming out of my newfound love for my Ed Sheeran pandora station. Yes, "Thinking Out Loud" dominated my plays on Spotify, but even the random snippets throughout the album were worthwhile.

A sophomore album is always tough, but I love that the sound is steady. Ed's first set of singles from "+" ("Plus") were soft, but the other tracks had an incredible reggae feel and fun sound. This time, he hit the world with that hidden sound right out of the box with the first two singles, but reminded us just how lovely a scruffy hairs ginger he is with the latest one.
Picture
Picture

1. Meghan Trainor - Title (EP)

Before you yell at me, trust me, it was a tough decision to place an EP at the top, above all of these full lengths... but every single song on this is an absolute winner, and I feel like the upcoming full length that will be released in a couple of weeks will live up to that standard. 

Meghan burst onto the scene with the song that made us all feel damn good about ourselves and our bodies, and she's got an empowering collection here. She's a girl who's speaking to all girls now in the same way Katy Perry did with "One of the Boys," and it's been too long since then. I admire her lyrics, and can't help but bop to her beats. Her songs have been on many a playlist this year, and this set of tracks deserves the top spot for it.
All right folks, that's it! Keep an eye out for my upcoming top songs list and check out the ELAH - 2014 - Best of the Year playlist I created with some off-beat selections from these albums as well!

<3 J-Hawke

0 Comments

"Weird Al" Yankovic - "Mandatory Fun"

7/15/2014

0 Comments

 
Picture
2015 Grammy Nomination:
  • Best Comedy Album

I am delighted to be kicking off ELAH's Grammys coverage this year with Weird Al's first #1 album. I actually remember someone asking me if I thought this would be up for an award this year, and I remember saying probably not, merely just forgetting that this was a category. Given that fact though, I have to say this would probably be my pick.

If you can believe it, this is Weird Al's 14th album. He self-produced this one and released it on RCA over the summer, but it took about two years to finish. There are parodies (imitative work meant to comment or trivialize the original) and pastiches (visual art imitating the style or character of the work, celebrating the work). What was cool is that artists saw this as an honor.


In the first week, eight music videos were released, one a day. 

And, sadly, this may be Al's last album - he's moving with the unfortunate times and sticking to singles and EPs from here on out.

I HATE "Fancy." So, my guess is that I'll love this first song, "Handy." And holy cow, it's all about being a handyman… tehehehehehe. I still sort of hate the basic sound of the song, but this is a lot more tolerable than the original. This sounds like classic Weird Al though, so we're off to a familiar start.


"Lame Claim to Fame" is up next. I don't recognize the title at all, which was unexpected. And it's a little weird that I can't place the original melody either. But this is kind of fantastic. It's a cool and weird story wrapped up into one bundle of a song. Basically, how many stars can we name (by association) in one tune. It's cute man, and a nice nod to the singer's life.

I never thought I would like "Fat," but it still cracks me up. I had the same initial thought for "Foil" which is a great job off of "Royals" by Lorde, but it's so damn clever. There's words used in this comedic song that I'm pretty sure I've never heard used outside of a novel. It's downright brilliant. And then the story starts to unfold… he's protecting himself from aliens. I honestly didn't expect that direction, but I can't understate how great of a build it is.

"Sports Song" was bound to be funny one way or another. "We're great and you suck." Okay, yes, it's so simple… so why isn't this being used at every sports game everywhere? At least in high schools?? And the fact that "figurative" is being used to a melody… I'm impressed. 

I've been looking forward to hearing "Word Crimes" for a while now. I know it made a big splash upon release, but I wanted to concentrate and really hear it. I truly believe that Weird Al could bring back School House Rock-esq learning techniques in one fell swoop. Yeah, half of it is putting us down for how we speak, but man I will watch what I use from here on out. I'm also quickly realizing how little I really learned about grammar mechanics growing up.

"I saw a junkie eat a tuba." Yes, that's the line I just heard. "My Own Eyes" is confusing and kind of great. It's got the same feel as the good Foo Fighters stuff, and you can dig the lyrics about the insanity around us. I don't know how completely relatable it all is, but the sound is damn fantastic.

"NOW That's What I Call Polka!" is… NOT a classic Polka song… he's made "Wrecking Ball" into a polka song!! THIS IS AMAZING!! Oh man, it's a mash up. There's "Best Song Ever," "Pumped Up Kicks," "Call Me Maybe," and a few more. It's incredible. I knew the guy was a polka aficionado, but I didn't know what we were really going to get here. "Timber" is on here… wow, just wow. I never thought I would enjoy this so much.

I thought we were going into Blind Melon as "Mission Statement" came on, and as much as I enjoy them, this song is my favorite from the album without even hearing the whole thing. Please go watch the video if you have a few minutes, because it's just so fantastically done. Business people, in any industry, have got to see this and (hopefully) have a good laugh at themselves and the industry buzz words we throw around so often. Actually, this will take you downright back to vocabulary words from those college BBA courses. Just… go remember for a few.


"Inactive" is a play off of "Radioactive" by Imagine Dragons, and I can't say I love this one. Mostly, I'm defensive of Imagine Dragons' music and oddly obsessed with the original song. I get this, but for some reason the mesh of the subject with this particular tune bothers me a little. I'm not upset, but it's not one I'm going to keep digging on for a while.

In a wonderful take on a recent trend of a phrase, "First World Problems" is basically a listing of a bunch of them. It's amazing. We're all such selfish jerky people, and this is our theme song. I hate the vocals on this, but it fits so actually I guess it's perfect. Now I want to go donate my salary to a third world country. 

"Tacky" is another one that's going to make some people feel bad if they actually take the damn time to listen to it. It's hilarious, and obviously not one commenting on Pharrell's original vision in "Happy." It's simply catchy and hilarious. It also doesn't seem to drag out quite as long as "Happy" (oh you all have thought it at some point too). And now I won't be able to see a few people I know without thinking of this song. If you think this might be you, then you're probably right.




Final song up (I can't believe this is over already!) is the nine-minute-long "Jackson Park Express." It's lovely, and I didn't think any song on here would have any business falling into that category. But there's a full story happening along the way... oh wait, there's the weirdness. It takes a turn when he start talks about melding bodies. Okay, this seems a bit more fitting in its own twisted way. And it doesn't stop. Not for quite some time.


Added to My Playlist:
  • "Foil"
  • "Sports Song"
  • "Word Crimes"
  • "My Own Eyes"
  • "NOW That's What I Call Polka!"
  • "Mission Statement"
  • "First World Problems"
  • "Tacky"

That was a riveting album, even if it did end on a sort of odd note. But man, this guy is a genius, I stand by that forever. He is clever and witty and this album was most definitely worth the long wait and clearly tons of work that went into its creation. It's been a great kick off to my Grammys season, and I hope you guys are getting pumped too!


Want to hear every song nominated this year? Throw my ongoing catch-all playlist, Grammys 2015, on random and check it all out!

0 Comments
<<Previous
    Google
    Custom Search

    Author

    My name's Janelle. I'm a fan of music.

    Archives

    January 2017
    January 2016
    December 2014
    July 2014
    April 2014
    March 2014
    January 2014
    December 2013
    November 2013
    September 2013
    August 2013
    June 2013
    May 2013
    April 2013
    March 2013
    January 2013
    December 2012
    October 2012
    September 2012
    August 2012
    July 2012
    June 2012
    May 2012
    April 2012
    March 2012
    February 2012
    January 2012
    December 2011

    Categories

    All
    10000 Reasons
    18 Months
    1968
    1978
    1982
    1984
    1995
    1996
    2003
    2007
    2008
    2009
    2010
    2011
    2012
    2012 Grammy Special
    2012 Grammys Special
    2013
    2013 Grammys Special
    2014
    2015
    2015 Grammys Special
    2016
    2016 Grammys Special
    2017 Grammys Special
    21
    2478fcc7c85e9
    2 Chainz
    33 1/3
    4
    4x4129e74cfccd9
    6b17225b62
    80s
    Acoustic
    Adele
    A Different Kind Of Truth
    A Different Ship
    A Dramatic Turn Of Events
    Adult Alternative
    Afro Cuban
    Ahmad Jamal
    A Holiday Carole
    Aimee Mann
    Alabama Shakes
    Album Review
    Album Reviews
    Album Title Goes Here239d00844a
    Alexander Glazunov
    Alex Storer
    Al Jarreau
    All Rebel Rockers
    Alternative
    Alternative Folk
    Alternative Hip Hop
    Alternative Rock
    Al Walser
    Ambiant
    Americana
    Amy Winehouse
    Anakin
    And If Our God Is For Us44b8fff38b
    Andrae Crouch
    Andrew Davis
    Anthrax
    Arabia Mountain
    Area 52
    Arrow
    Art Rock
    Artuno Sandoval
    Arun Shenoy
    Astral Weeks
    Avicii
    Bach
    Bad Jokes
    Bangarang
    Barbara Streisand
    Barbra Streisand
    Baroque Pop
    Barton Hallow
    Based On A T.r.u. Story
    Bbc Philharmonic
    Belmont
    Benny Benassi
    Best Of
    Best Song Written For Visual Media
    Beyonce
    Big Beat
    Big Krit
    Biophilia
    Bjork
    Black And White
    Black Taxi
    Blake Shelton
    Blind Pilot
    Blood Bank
    Blood Pressures
    Blueeyed Soul05b96abb11
    Bluegrass
    Blue Moon
    Blues
    Blues Rock
    Blunderbuss
    Body And Soul
    Body Talk Pt 3
    Bond The Paris Sessions40ce2eefdd
    Bon Iver
    Bonnaroo
    Bonnaroo Special
    Bonnie Raitt
    Booker T Jones9ee767620b
    Born Free
    Born This Way
    Bowen
    Boys & Girls
    Bozza Nova
    Brahms
    Break The Spell
    Brian Setzer
    Bring It On Home
    Britt Nicole
    Broadway
    Brothers Osborne
    Bruce Springsteen
    Bruno Mars
    California 37
    Calvin Harris
    Camp
    Canton Jones
    Carly Rae Jepsen
    Carole King
    Ccm
    Cee Lo Green
    Celtic Punk
    Ceremonials
    Chaal Baby
    Channel Orange
    Charlie Wilson
    Cheif
    Cherub
    Chicago Symphony Orchestra Brass Section
    Childish Gambino
    Choral
    Chris Botti
    Christian Pop
    Christian Pop Rock
    Christmas
    Chris Tomlin
    Cinema
    Circles Around Me
    City And Colour
    Classic
    Classical
    Cloud Maintenance
    Coheed And Cambria
    Coldplay
    Cole World: The Sideline Story
    Come Around Sundown
    Comeback
    Comedy
    Comedy Rock
    Cool Jazz
    Cosmogramma
    Country
    Cso Resound - Chicago Symphony Orchestra Brass Live
    Cuban
    Cut/Copy
    Daft Punk
    Dale Earnhardt Jr Jr
    Dance
    Dance Pop
    Dance-pop
    D'angelo And The Vanguard
    Danger Mouse
    Daniele Luppi
    Danny Brown
    Darondo
    Das Racist
    Daughtry
    Dave Koz
    Davenport Cabinet
    David Guetta
    Dawes
    Deadmau5
    Dean Taylor
    Dear Diz (every Day I Think Of You)
    Delta Spirit
    Derek And The Dominos
    Diddy-Dirty Money
    Dispatch
    Dispatch Ep
    Dj
    Dominionaire
    Donald Lawrence And The Company
    Don't Think
    Doo-wop
    Doo-Wops & Hooligans
    Dream Theater
    Dr John
    Dubstep
    Duck Sauce
    Duets Ii
    Duets With The Dames
    Dylan Connor
    Ed Sheeran
    El Camino
    El Debarge
    Electric Blues
    Electro House
    Electronic
    Electronica
    Electronic Dance Music
    Electronic Music
    Electronic Rock
    Electropop
    Elephant
    Elvis Costello
    Ema
    Eminem
    Eric Benet
    Eric Church
    Erin Mclendon
    Eurodance
    Experimental
    Experimental Rock
    Feist
    Female
    Film Soundtrack
    Fire & Ice
    Fitz And The Tantrums
    Flogging Molly
    Florence + The Machine
    Flower Punk
    Flying Lotus
    Folk
    Folk Blues
    Folk-Noise
    Folk Rock
    Follow Me Down
    Foo Fighters
    For The Good Times
    Foster The People
    Four Hands & A Heart
    Frank Ocean
    Frank Sinatra
    Fruit Bats
    Fun
    Funk
    Funk Rock
    Fusion
    Future Worlds
    Futuristic Soul
    Gaia
    Garage
    Garage Punk
    Gerald Albright
    Gerald Clayton
    Gillian Welch
    Glee Cast
    Glee The Music The Christmas Album Value 2
    Glossary
    Gold
    Gordon Goodwin's Big Phat Band
    Gorillaz
    Gospel
    Gotye
    Greatest Hits... So Far!
    Hands All Over
    Hard Rock
    Harry Connick Jr.
    Heartless Bastards
    Heavy Metal
    Hello Fear
    Hello Tomorrow
    Here We Go Magic
    Heroes
    Hip Hop
    Hip-hop
    Holiday
    Home Again
    Horse Power Ep
    House
    Hugh Laurie
    Hunter Hayes
    I Can't Live Without You
    Impressions
    I'm With You
    In Concert On Broadway
    Indie
    Indie Folk
    Indie Pop
    Indie Rock
    Industrial Metal
    Instrumental
    Instrumental Rock
    Irish Pop
    Jack Bruce
    Jack Bruce & His Big Blues Band: Live 2012
    Jack White
    James Durbin
    Jamie Grace
    Jay-Z And Kanye West
    Jazz
    Jazz Fusion
    Jazz Pop
    J. Cole
    Jeff Beck
    Joan Osborne
    Joe Jackson
    ... Just A Matter Of Time
    Just Charlie
    Kaleidoscope Dream
    Kanye West
    Karen Elson
    Kaskade
    Kathleen Edwards
    Katy Perry
    Kelly Clarkson
    Kevin Hearn
    K Flay
    Khaira Arby
    Kid Rock
    Kim Burrell
    Kings Of Leon
    Kirk Franklin
    Kirtan
    Kiss
    Kisses On The Bottom
    Krishna Das
    Kristjan
    Lady Gaga
    Larry Carlton
    Lasers
    Last Train To Paris
    Layla And Other Assorted Love Songs
    Leaving Richmond
    Leonard Cohen
    Let Them Talk
    Levels
    Lioness: Hidden Treasures
    Listen To My Song: The Music City Sessions
    Little Broken Hearts
    Little Hell
    Live
    Live Anada
    Live At Cecil Sharp House Ep
    Live At The Blue Note Tokyo
    Live At The Royal Albert Hall
    Live From Beyond Hell Above Heaven
    Live From The Underground
    Lmfao
    Locked Down
    Long Live All Of Us
    Lost In Time
    Loud
    Lounge
    Love Letter
    Lupe Fiasco
    Making Mirrors
    Man In Motion
    Marie Naffah
    Mark Ronson
    Maroon 5
    Mastodon
    Matt Redman
    Megadeth
    Melody Gardot
    Memories Of A Beautiful Disaster
    Metal
    Metals
    Michael Brandt Demaria
    Michael Buble
    Michael Franti & Spearhead
    Michael Kiwanuka
    Middle Eastern
    Midnight Boom
    Miguel
    Mistaken Identity
    Mom Dad0e99b45cc3
    More Monsters And Sprites Ep
    Mto Plays Sly
    Mumford And Sons
    Muse
    Music Is Better Than Words
    My Beautiful Dark Twisted Fantasy
    Mylo Xyloto
    Neo-prog
    Neo Soul
    N.E.R.D.
    Nero
    New Age
    New Music Friday
    New Music Tuesday
    New Prog
    New Wave
    New York City
    Nicki Minaj
    Nico Osborne
    Night And Day
    Nightmare Revisited
    Nine Types Of Light
    No
    Norah Jones
    Norman Brown
    Nothing
    Nothing But The Beat
    Nothing Is Wrong
    Old Ideas
    Once: A New Musical
    One Song At A Time
    Original Broadway Cast Recording
    Our Machine
    Outlaw Country
    Overexposed
    Parody
    Past Life Martyred Saints
    Pat Metheny
    Paul Mccartney
    Peter Kater
    Piano
    Pickin' Up The Pieces
    Pink Friday
    Pitbull
    Planet Pit
    P!nk
    P!nk
    Pop
    Pop Instrumental
    Pop Punk
    Pop Rock
    Pop Vocal
    Port Of Morrow
    Post-Britpop
    Post-grunge
    Post-hymnal Anthematic
    Post-Punk
    Post-punk Revival
    Power Metal
    Power Pop
    Primal Fear
    Progressive Bluegrass
    Progressive House
    Progressive Metal
    Protest
    Psychedelic Rock
    Pub Rock
    Punk Rock
    Rachel Platten
    Radioactive
    Radiohead
    Random Accessed Memories
    Random Discoveries
    Rap
    Rare Groove
    Rave On Buddy Holly
    R&B
    R&b
    Recommendations
    Red Baraat
    Red Hot Chili Peppers
    Red River Blue
    Reggae
    Reggaefusion
    Relax
    Remixes
    Requests
    Richard King
    Rihanna
    Ringo 2012
    Ringo Starr
    Rize Of The Fenix
    R. Kelly
    Robyn
    Rock
    Rock And Roll
    Rock 'N' Roll Party Honoring Les Paul
    Rock Opera
    Rodrigo Y Gabriela & C.U.B.A.
    Rolling Papers
    Romantic
    Rome
    Roses
    Royal Tailor
    Rumbadoodle
    Russian National Orchestra
    Sam Bush
    Sarah Jarosz
    Save The World
    Scary Monsters And Nice Sprites
    Second Chance
    Seraphic Fire
    Seth Macfarlane
    Setzer Goes Intru-Mental!
    Shamrocks
    Sharon Jones & The Dap-Kings
    Shemekia Copeland
    Short Of The Sun
    Showtunes
    Sia
    Sigh No More
    Singer Songwriter
    Singer-songwriter
    Sixx:A.M.
    Ska
    Skrillex
    Slipstream
    Sludge Metal
    Smashing Pumpkins
    Smooth Jazz
    So Far
    Soja
    Solo Albums
    Some Nights
    Sorry For Party Rocking
    Soul
    Soul Time!
    Soundtrack
    Southern Hip Hop
    Southern Rock
    Special Edition Post
    Speed Of Darkness
    Standards
    Steampunk
    Steve Aoki
    Steven Bernstein's Millennial Territory Orchestra
    Stomp And Smash
    Stoner Rock
    Storm Corrosion
    Strange Mercy
    Stranger
    Strength To Survive
    Stronger
    St Vincent
    Sunshine Pop
    Susan Boyle
    Swedish House Mafia
    Synthpop
    Talk That Talk
    Techno
    Teenage Dream
    Teenage Dream: The Complete Confection
    Tenacious D
    Th1rt3en
    That's How We Roll
    That's Why God Made The Radio
    The 2nd Law
    The Absence
    The Antlers
    The Band Perry
    The Beach Boys
    The Bird And The Submarine
    The Black Keys
    The Black Lips
    The Bristol Sessions
    The Cars
    The Chemical Brothers
    The Chieftains
    The Civil Wars
    The Clare Fischer Latin Jazz Big Band
    The Cranberries
    The Credins
    The Decemberists
    The Devil Makes Three
    The Edges Of Twilight
    The Fall
    The Ghost Who Walks
    The Gift
    The Harrow & The Harvest
    The Heroin Diaries Soundtrack
    The Hunter
    The Hybrid
    The Journey
    The Kills
    The King Is Dead
    The King Of Limbs
    The Lady Killer
    The Light Dreams
    The Little Willies
    The Lonely Island
    The Love Album
    The Lumineers
    The Metropole Orkest
    The Music City Story
    The Road To Memphis
    The Shins
    The Staves
    The Tea Party
    The Truth About Love
    The White Stripes
    Thrash Metal
    Together
    Tony Bennett And Various Artists
    Top 10
    Torches
    Traditional Pop
    Traditional Vocal
    Train
    Trance
    Tribute
    Trip-hop
    Tripper
    Tron: Legacy Reconfigured
    Turtleneck & Chain
    Tv On The Radio
    Tv Soundtrack
    Unbreakable
    Unique
    Until Now
    Valient Thorr
    Van Halen
    Van Morrison
    Various Artists
    Vernon Reid
    Voice Of Ages
    Volbeat
    Volume One
    Voyageur
    Wakey!wakey!
    Warren Haynes
    Wasting Light
    Watch The Throne
    We Are The Tide
    We Don't Know Any Better
    Weird Al
    Welcome Reality
    Weloveyoursongs.com Artists
    What It's All About
    What Matters Most
    When You're Through Thinking Say Yes
    White Denim
    Wild And Free
    Willie Nelson
    Wind Rock Sea And Flame
    Winner Selections
    Wiz Khalifa
    Wonderland
    World
    Worship Music
    Wrecking Ball
    Ya Rassoul
    Yelawolf
    Yellowcard
    Young The Giant
    YRM (Your Righteous Mind)
    Ziggy Marley
    Zonoscope

    RSS Feed

Powered by Create your own unique website with customizable templates.