The Connells

Favorites of 2025: Third of Never – Damage The Pearl

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Third of Never and Damage the Pearl matters

In a year filled with shiny indie-rock releases, Damage the Pearl — the latest from Third of Never — stands out not just as a strong album but as a daring creative leap. It presents itself as an “Original Soundtrack,” blending rock, psychedelia, cinematic touches, and lyrical reflection into a unified whole. Instead of chasing hits, Third of Never offers a record that feels like a story, a mood, and an emotional piece all in one.

What follows in this favorite of 2025 consideration is an exploration of the key musicians behind the record, their roles, contributions, and chemistry, followed by a detailed analysis of the album’s sound, themes, and emotional impact. I argue that Damage the Pearl is not only one of the most compelling independent albums of 2025 but also a statement about what rock music can still be: inventive, collaborative, and emotionally powerful.

The musicians behind the music

At the heart of Third of Never is founder and guitarist/songwriter Jon Dawson, but Damage the Pearl also benefits from contributions by longtime collaborators and special guests.

Doug MacMillan — best known for his work with The Connells — handles lead vocals on the album. His voice offers a familiar yet fresh focus: a tone that blends vulnerability, grit, and a touch of wistful depth, perfect for the record’s haunting atmosphere. Jode Haskins plays bass (credited as “lead bass” on tracks like “Grab the Ground”), anchoring the record with a strong low-end that supports both the rockier and more psychedelic passages. Charles Cleaver contributes keyboard and possibly synth textures, giving some songs a layered, atmospheric dimension that broadens the sonic palette beyond straightforward rock. Brandon Ruth — on drums — drives the record’s rhythmic backbone, moving skillfully between finesse and force as the song’s mood calls for.

Beyond the core lineup, Damage the Pearl benefits from notable guest contributions: legendary keyboardist John “Rabbit” Bundrick (of The Who fame) and Steve Kilbey (of The Church), among others. Their input adds depth, history, and sonic color — reminding listeners that this is not a lo-fi one-man bedroom project but a fully realized band effort.

Together, they craft something alive — a vibrant collaboration of musicians, textures, and sensibilities.

A cinematic, psychedelic journey

Listening to Damage the Pearl feels less like playing an album and more like exploring a film’s soundtrack you haven’t seen yet. From the first moments, you’re pulled into a world of shifting moods: garage sparks, dreamy psychedelia, cinematic sweeps, and rock-driven hooks.

The lead single and our favorite track, “Grab the Ground,” sets the tone. Its shimmering guitars and steady groove evoke movement—literally and metaphorically—like a car speeding down a deserted highway under neon lights. This sense of motion aligns with the album’s larger goal: it is both a static work and a journey.

Other tracks lean toward subtle psychedelia or atmospheric rock: through keyboards, ambient touches, echoed vocals — layering mood over melody, feeling over immediacy. The guest contributions from Bundrick and Kilbey are especially effective here, broadening the band’s sonic identity beyond traditional rock tropes.

Even when the songs are more conventional rock-based (“groove + guitar + bass + drums + vocals”), the production gives them weight and space. The album rarely feels over-produced; Instead, it balances rawness and polish — capturing a tension between vulnerability and strength. As one review puts it: it “adds the right level of balance between instrumentation and vocals, so the full emotional effect of each song hits.”

What emerges is an album that’s both immediate and expansive — perfect for late-night introspection or full-volume road-trip listening.

Vulnerability and Resilience: Lyrics and emotional weight

One of the most powerful and compelling aspects of Damage the Pearl is how its lyrical themes, often focused on vulnerability, survival, identity, and inner conflict, intersect with the music’s cinematic and psychedelic character. The title track, Damage the Pearl, provides a sort of thematic statement for the record: the repeated line “What strikes the oyster doesn’t damage the pearl” suggests a reflection on resilience—inner fragility protected by layers of shell, with inner worth enduring outside shocks.

Lyrics like “remain cheerful despite your painful brain” suggest mental struggles, emotional effort, and the difficulty of staying light amid weight.

But there’s more here than just grief or melancholy. There is defiance, survival, and even hope. In relation to the sound—shifting from gritty to dreamy, rock to ambient—the album feels like an honest struggle with inner turmoil and external pressures. It doesn’t offer easy answers or neat closure. Instead, it welcomes listeners into a space of acknowledgment: “Yes, I feel what you feel,” it seems to say.

In interviews, the band confirms that Damage the Pearl was designed not just as an album but as a soundtrack to a film — a visual story that enhances its thematic goals. According to founder Jon Dawson, the cinematic concepts emerged late in the recording process, after the lines and moods had come together into something narratively suggestive.

This framing as “Original Soundtrack” shifts how you listen — every song becomes a scene, each mood a frame, and every lyric a line of dialogue in a larger story. And that story? It feels less like a tidy arc and more like a winding road trip through memory, loss, hope, and survival.

What Damage the Pearl does well, and where it leaves space

One of the album’s biggest strengths is its cohesion. Despite featuring multiple collaborators and a variety of sonic textures — from rock to psychedelia to ambient keys — the record feels unified. This is partly thanks to careful production and mixing, where every instrument, including vocals, occupies its own space, but also due to a consistent emotional and narrative tone. The listener isn’t jarred by sudden tonal shifts; instead, there’s a smooth flow and a clear internal logic — like a movie soundtrack that understands its scenes.

Moreover, the choice to present the album as a soundtrack is more than just stylistic; it enhances the listening experience. It sparks the imagination. It requires attention. It allows the listener to feel, reflect, and maybe even project their own stories onto the music.

At the same time, Damage the Pearl isn’t perfect — and that’s part of its honesty. It doesn’t always resolve its tensions. Some songs end softly, others fade into ambiguity. The “story” the album suggests is fragmented, impressionistic; you might find yourself with more questions than answers by the end. But maybe that’s the point. Maybe some emotional truths resist tidy closure.

There are moments when the cinematic ambition borders on grandiosity, where the mood threatens to overpower the song’s structure. But often, the balance — of texture, mood, simplicity, and complexity — pulls things back just in time.

Why Damage the Pearl matters — for Third of Never, for independent music, for listeners

For Third of Never, this album feels like a redefinition. No longer just a rock band producing standard records — they’ve expanded into a multimedia vision: soundtrack + album + film + narrative. It’s risky, ambitious, and yet grounded. It shows that the band is not moving backward into nostalgia or convention, but pushing forward into new possibilities.

For independent music in 2025 — when much of it feels packaged, algorithm-driven, and commercially safe — Damage the Pearl serves as a reminder that records can still be daring, mysterious, and emotionally intense. It demands something from the listener: patience, openness, and imagination. In return, it offers a lot: suspense, beauty, catharsis, resonance.

For listeners—especially those drawn to emotional honesty, moody textures, and music that feels alive rather than polished—this album is a gift. It doesn’t flinch from pain or uncertainty. It doesn’t offer easy answers. It provides space for reflection, for memory, for human complexity.

A soundtrack for the unsettled, a refuge for the introspective

In a musical landscape filled with albums that often feel like products — short, polished, predictable — Damage the Pearl feels like true art. It is chaotic, cinematic, full of emotion, and deeply human. It demonstrates what can happen when a band refuses to stick to a formula, when musicians collaborate across generations and genres (rock, psychedelia, cinematic ambition), and when they allow vulnerability and imagination to lead the work.

Third of Never and their individual collaborators — Jon Dawson, Doug MacMillan, Jode Haskins, Charles Cleaver, Brandon Ruth, John “Rabbit” Bundrick, Steve Kilbey — have created something that feels timeless, genre-blending, and fiercely genuine. This is not background music. It demands attention. It rewards patience.

If you haven’t heard Damage the Pearl yet — or if you’ve only listened once on shuffle, consider this a gentle nudge: put on headphones, turn down the lights, maybe grab a drink or nothing at all, and let the record wash over you. Maybe you’ll discover something in it you didn’t know you needed: a soundtrack for uncertainty, a companion for sleepless nights, or a mirror for unspoken feelings.

In a noisy world, Damage the Pearl is a subtle rebellion — an invitation to feel. And it’s one of the most worthwhile albums of 2025 so far.

What is it that drives the feel in indie music?

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Indie music unites us because it thrives on authenticity, creativity, and emotional honesty. Unlike heavily commercialized tracks, it often reflects personal stories, experimentation, and unique perspectives that feel relatable. Fans connect through shared emotions—heartbreak, joy, longing, or defiance—finding meaning in sounds and lyrics that resonate with their own lives. The community around indie music also matters: attending shows, sharing discoveries, and supporting artists fosters a sense of belonging, where people celebrate individuality while feeling part of something bigger.

The Beths’ Best Laid Plans exemplifies the power of rhythm and groove in creating an irresistible musical experience. At its core, the song is anchored by tight, punchy percussion and a driving bassline that create both energy and momentum. This rhythmic foundation gives the track a sense of forward motion, allowing the melody and vocals to shine while the listener is physically engaged—tapping toes, nodding heads, or even dancing along. The combination of percussive precision and melodic bass makes the song feel immediate and alive, illustrating how the “feel” of a song is just as important as its harmonic or lyrical content.

This attention to rhythm and groove is a hallmark of many artists across indie and alternative music. Tamar Berk, for instance, uses nuanced percussion to build layers of tension and release in her music, creating songs that feel both intimate and expansive. Bird Streets similarly blends melodic hooks with a driving rhythm section, demonstrating how bass and drums can define a track’s emotional pulse. Guided By Voices, with their lo-fi yet meticulously arranged recordings, often showcase how a tight rhythm section can make even a chaotic-sounding song feel cohesive and infectious. The Connells and The Cords similarly emphasize song craft, where the music propels the storytelling and emotional impact.

Meanwhile, vocalists like Kim Ware and her effort, The Good Graces, highlight the interplay between rhythm and vocal delivery. In Kim’s songs, the percussive drive and melodic bassline not only support the vocal narrative but enhance the emotional resonance, creating moments of release and catharsis that linger with the listener. Just as The Beths use rhythm to energize Best Laid Plans, these artists leverage bass and percussion to make the music physically and emotionally engaging, proving that the “feel” of a song—its groove, drive, and momentum—is a central component of its power.

Ultimately, what unites these artists is a deep understanding of how guitar, percussion, bass, and overall feel can transform a song from a static composition into a living, breathing experience. From The Beths’ infectious grooves to Bird Streets’ emotive rhythms, from Guided By Voices’ lo-fi magic to Kim Ware’s soulful pulse, these musicians remind us that feel, texture and rhythm are not just accompaniment—it’s a force that connects listeners, moves bodies, and conveys emotions that words alone cannot capture.

Screaming in the Dark: How Rock Lyrics Tear Your Soul Open and Leave You Wanting More

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Rock and roll has always been a violent, all-consuming beast that claws at your insides and leaves you aching for more. But it’s not just the guitar riffs that keep you coming back; it’s the words. The lyrics, when they hit, can get under your skin, lodge in your brain, and make you feel like you’ve been struck by lightning—or a falling star, depending on how poetic you want to get. The best rock songs are often the ones that tear down the walls between the listener and the songwriter, making you feel as if you’re walking through the fires of their soul, even if they don’t want you there.

This kind of raw vulnerability, this open wound of expression, can’t be faked. And if it is, you know it. But when it’s authentic? When it comes from a place that is somehow both personal and universal? That’s when you hear it: the sound of someone throwing everything they have into their lyrics, turning something that might just be a scribbled note into an anthem for the disillusioned.

And that’s where songs like those from The Connells, The Counting Crows, R.E.M., and The Replacements come in. They’ve got it—whatever it is. And they know how to wield it like a sword, carving out spaces for us all to exist inside their verses. It’s not just about being clever or complex. It’s about being real. It’s about making you feel something.

So what makes these lyrics powerful? Let’s dive in and break it down.

The Connells – The Beauty of the Everyday Struggle

Let’s start with The Connells. They’re like that band you heard on the radio and never quite knew whether you were supposed to cry or just nod along to the rhythm. Their song “74-75” is a classic example of lyrics that don’t just tell a story—they pull you into the middle of it, making you feel like a participant rather than an observer.

The thing about “74-75” isn’t the narrative; it’s the way it captures a feeling, a sense of longing for a time that’s already passed, a time that exists only in memory. The line “I was the one who let you know
I was your “sorry ever after”/’74-’75” hits with the subtle melancholy of a songwriter who knows that the world they once envisioned didn’t quite turn out as expected. There’s no bitterness, no anger—just a quiet resignation. It’s not the anger of punk or the bombast of glam rock, but something more delicate: a personal and collective sadness.

This sense of fading away, of history marching on regardless of your desire to keep up, is where The Connells find their power. The lyrics don’t scream for attention. They don’t force you to accept them. Instead, they settle in, like the dust in an old attic that you haven’t bothered to clean. In a way, The Connells’ ability to articulate the passing of time, the things that slip away without us even realizing it, taps into a very human vulnerability: we can’t stop the inevitable, but we can remember, and sometimes that’s enough.

Counting Crows – The Beauty of Messy, Imperfect Souls

Counting Crows are often described as the quintessential ‘90s band, and while that might seem like a dismissive label to some, it’s hard to ignore how well they captured the emotional complexity of that era. The lyrics in songs like “Mr. Jones” or “A Long December” are imbued with a kind of longing that speaks to the frustrations of being stuck in your own head, lost in self-reflection, while also looking outward toward the world and wondering why it all feels so… empty.

There’s a rawness in Adam Duritz’s delivery, a sense of vulnerability that comes across as both introspective and confessional. In “A Long December,” Duritz sings, “And it’s been a long December, and there’s reason to believe / Maybe this year will be better than the last.” The power here isn’t just in the lines themselves but in the tone—the weariness in Duritz’s voice, the way it wavers, suggesting that this isn’t just about a bad month or a rough time. It’s about the constant cycle of hope and despair, the cyclical nature of life that repeats even though you don’t want it to. The power of Counting Crows’ lyrics lies in their ability to capture that very human struggle: the push-pull between wanting to believe things can get better and the awareness that life often doesn’t give you any guarantees.

But it’s not just about the sad, reflective moments. Counting Crows are also masters of finding beauty in the messiness of life. In “Mr. Jones,” Duritz sings about longing for fame and success, but in a way that’s almost self-deprecating, revealing the insecurity that so often accompanies dreams of grandeur. There’s something painfully human about the way he expresses these desires, especially when paired with the upbeat, almost celebratory musical backdrop. It’s as if Counting Crows are trying to convince themselves that they can rise above their own doubts, even if they don’t fully believe it. This contradiction—wanting something so badly while knowing it won’t solve your problems—is what makes their lyrics hit so hard.

R.E.M. – The Beauty of Ambiguity and Mystique

Now, R.E.M. is where things get interesting. They’re a band known for their obtuse, enigmatic lyrics—songs that you can never quite figure out, yet they speak to you as if they understand your deepest thoughts. “Losing My Religion” is the prime example of this. Michael Stipe’s lyrics are fragmented, filled with obscure references, and yet they carry an emotional weight that speaks to the very heart of human confusion and self-doubt.

“Losing My Religion,” for instance, is about more than just faith; it’s about the moment when you realize that the rules you’ve followed might not hold true anymore. The phrase “losing my religion” isn’t literal. It’s not about God or theology—it’s about that overwhelming sense of being on the verge of breaking, of seeing everything you thought was true start to unravel. Stipe’s voice doesn’t just sing these words; it resonates with the sorrow of understanding that, sometimes, there is no answer. The ambiguity is powerful because it reflects the messiness of our own lives: we’re all searching for meaning in a world that doesn’t provide any simple answers.

R.E.M.’s strength lies in their ability to articulate universal feelings—loss, confusion, longing—through highly ambiguous lyrics. You might not always know exactly what they’re talking about, but you know what it feels like. And that’s what makes their songs so potent. They create a space where the listener can impose their own experiences, their own meanings, into the lyrics, making each song feel personal.

The Replacements – The Beauty of Chaos and Rebellion

And then there are The Replacements. If R.E.M. is ambiguity, The Replacements are the messy, unpolished, chaotic force that says, “Here I am, take me or leave me. Either way, we don’t care.” There’s an undeniable power in their ability to capture the feeling of disillusionment with the world, but they do it with a defiance that borders on self-destructive. Their lyrics are often frantic, raw, and vulnerable as if the band is afraid that, if they don’t get it all out in one go, they might implode.

Take “Bastards of Young,” for example. It’s a call to arms for the disaffected youth, the ones who are always on the outside, looking in. The repeated refrain “We are the sons of no one / Bastards of young” rings with both anger and an almost celebratory tone—like a badge of honor worn by those who never quite fit into society’s neat little boxes. What’s powerful about this is that it isn’t just about rebellion for the sake of rebellion. It’s about a deep-seated sense of alienation, a recognition that the world may never accept you, and maybe that’s okay.

There’s a sense of desperation in these lyrics, a feeling that maybe the only way to survive is to burn everything down. But there’s also humor, even in the chaos, a reminder that life is messy, imperfect, and sometimes beautiful in its destruction.

The Power of Lyrics in Rock and Roll

The lyrics that make rock and roll so potent aren’t the ones that try to fit neatly into a box or explain everything away. They’re the ones that dive into the mess of human existence and say, “This is who I am, for better or worse.” It’s the raw vulnerability of The Connells’ reflections on time, the longing and self-doubt of Counting Crows, the cryptic mystery of R.E.M.’s disillusionment, and the raw, unvarnished chaos of The Replacements that make rock and roll lyrics so powerful. It’s not simply about the clever wordplay or the polished metaphors—it’s the truth, delivered with all the mess and pain that comes with it.

Rock and roll is about real emotions. And the best songs? They make you feel something, deep down—whether you want to or not. And we are all the better for it.

Favorites of 2023: Just the List

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This time of the year every music writer’s fancy turns to the ubiquitous quest for the best of/favorites of the year. We start with a list of albums and singles we played on YTAA at least three or four times. Then we consider what songs and records slipped into our consciousness and we spent more time simply thinking about that song, that album — those words. If there is a pattern to what we loved in 2023, it is a bit hard to pin down. If we take a wild stab at an answer, 2023 was a year of amazing music from powerful, strong, thoughtful women musicians. From the incredible voice of Sarah Rudy in Hello June to the authenticity of Kim Ware and Van Plating across to the irresistible guitar tones and perfect singing of Tamar Berk, Blondshell, Beth Bombara, and Lydia Loveless, so many outstanding records were made outside of the men’s club this past year — and that is a welcome change.

Every writer, just like every music fan, has styles and sounds that they are irresistibly pulled towards. Clearly, Dr. J loves guitar. For some writers the list is likely to be diverse, reflecting a fusion of genres and innovative production techniques. And that is fine. With the continued influence of technology, some writers are drawn to artists who experimented with new sounds and collaborate across musical boundaries, creating a sonic outcome that resonates. For other writers, the search for a pure direct authenticity of instruments lead them to the streets where the music is painted without electronics. Acoustic and stripped down arrangements played on traditional equipment bring gratitude to the heavens for that music from some writers.

When crafting a list of favorites from the year, some writers will consider representation. Genres such as indie pop, electronic, and hip-hop may continue to dominate, with emerging artists bringing fresh perspectives and pushing creative boundaries. Collaborations between mainstream and indie artists could lead to unexpected yet captivating musical experiences. Shoegaze, for example, has made many returns after some commentators spilled tremendous amounts of ink over the idea that shoegaze had come and gone. Music in the year 2023 saw several bands who represented that style.

Lyrically, many of the themes explored in 2023 revolve around social issues, personal growth, feeling whatever the artist needs or desires to feel, perhaps some of the “Best” representations for the year are the songs that grab and do not let go of the human experience. Artists may use their platforms to address pressing matters, providing listeners with thought-provoking content that goes beyond mere entertainment and that might be the magic that some writers are drawn to when considering all the records and songs that came out during one trip around the sun.

There are some ‘off limits,’ ‘don’t walk on the grass’ ideas for us here at Your Tuesday Afternoon Alternative. Sure, the rise of virtual and augmented reality experiences may revolutionize the way music is consumed, offering immersive and interactive performances that redefine the traditional concert experience. But for us, human beings need to be part of the creation and experience of music. Streaming platforms might incorporate cutting-edge technologies to enhance the listener’s engagement with the music and while we can and should debate the lack of compensation, which is only going to get more challenging in 2024, AI generated melodies, tones, and arrangements of notes are not considered for inclusion on our favorites of the past year.

The best albums of 2023 could be those that not only showcase exceptional musical talent but also tell compelling stories or provide a unique perspective on the world. Artists who successfully blend innovation with authenticity may find themselves at the forefront of critical acclaim and commercial success and, to be entirely transparent, will immediate draw our attention for a favorites of the year.

Ultimately, the best music of 2023 will likely be a subjective experience, as individual tastes vary widely. However, it is important to consider this a reflective exercise. Every year is poised to be an exciting time for music enthusiasts, with a plethora of sounds and styles to explore, pushing the boundaries of what we thought possible in the world of music. Every year is full of promise. No annual march of the calendar is without merit and new experiences. So, to create a list of the music that moved you in 2023, is not to close the door to new auditory love but to remember we break our hearts so we can fall in love again with songs and albums we have not even heard yet.

The list below is our start on our favorites from this past year. A longer set of articles will come out exploring what it was that caught our attention in these albums and songs.

Favorite record for us in 2023:

Hello June – Artifacts

You can read our review of this fantastic record!

This music transcends time and place, resonating with listeners in their quest for meaning and understanding. The lyrics serve as a mirror, reflecting the innermost thoughts and emotions that often remain unspoken. Hello June’s “Artifacts” is a sonic masterpiece — and we are prepared to die on that hill to defend that assertion — that deserves a place in the hearts of all music fans. It is a timeless record that captures the essence of the human experience, a treasure chest of emotions waiting to be discovered with each listen. 

In no particular order of importance but records that we believe were mightily impressive:

The 1984 Draft – Best Friends Forever

The Replacements – Tim Let It Bleed Edition (Ed Stasium Mix)

Tamar Berk – Tiny Injuries

Smug Brothers – In The Book of Bad Ideas

Elephants and Stars – Get Your Own Army

The Nautical Theme – Get Somewhere

Palm Ghosts – I Love You, Burn in Hell

Van Plating – Orange Blossom Child

Lydia Loveless – Nothing is Gonna Stand In My Way Again

Kim Ware – Homely

Bottlecap Mountain – O Fantastik Melancholy

Beth Bombara – It All Goes Up

Nicholas Johnson – Shady Pines Vol. 2

The Pretty Flowers – A Company Sleeve

The Connells – Ring (Deluxe Edition)

Black Belt Eagle Scout – The Land, The Water, The Sky

Blondshell – Blondshell

Achilles Tenderloin – Tincture for Trouble

Mike Bankhead – I Am Experienced

Jason Isbell and the 400 Unit – Weathervanes

Some of our Favorites of 2023:

Arthur Alexander – …Steppin’ Out!

Mommy – Be Your Own Pet

Frankie Rose – Love as Projection

Cold Expectations – Static Reactions

Connections – Cool Change

The Connells – Set The Stage

Dolph Chaney – Mug

En Attendant Anna – Principia

Graham Parker & The Golden Tops – Last Chance to Learn the Twist

Guided By Voices – Nowhere to Go But Up/Welshpool Frillies

H.C. McEntire – Every Acre

Jess Williamson – Time Ain’t Accidental

John P. Strohm – Ready for Nothing

Jphono1 – Invisible Futures and Make Believe Pasts

Louise Post – Sleepwalker

Love Rat – Howl at the Moon

Matt Moran – Heartache Kid (Acoustic)

The Radio Field – Don’ts and Do’s

Shannon Clark & The Sugar – This Old World

Special Friend – Selkie

Tino and DJ Marrrtin – La Pie Bavarde

Trapper Schoepp – Siren Songs

Singles

No One Sphere – Fingerz to Lips

Elephants and Stars – Bled Out At The Scene

David Payne – Best Intentions

We Met In Paris – Mont Blanc Massif

The National – Eucalyptus

sparkle_jets uk – He’s Coming Out

The Well Wishers – So Important

Tod Weidner – Raising Pain

Mike Bankhead – Latent

Given Names – Makin’ Eyes

Cowboys in The Campfire – Here We Go Again

Teenage Fanclub – Foreign Land

Hannah Jadagu – Lose

High on Stress – Over-Thru

Jeremy Porter and the Tucos – Five-Foot-Three and Tiger Eyes

Tyler Childers – Rustin’ in the Rain

Kurt Lee Wheeler – We Will Travel

Honorable Mentions

Yo La Tengo – This Stupid World

Amber Hargett – Coal Mine Canary

Brainiac – The Predator Nominate EP

Quiet Signals – Quiet Signals

Happy 30th Birthday! The Connells’ ‘Ring’ – A Melodic Gem That Rings True 30 Years Later

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A very happy birthday — the big 3-0 — to ‘Ring‘ from The Connells! This record was life-changing for me.

After this record and through the music, I met the future Mrs. Dr. J. Immediately after the release of this album, I started a newsletter ‘Boylan Heights’ named after the band’s second full-length record and through that experience made lifelong friends. That was followed by a fan site for those who love the band. I traveled across the country to see so many shows – currently, I have seen the band perform over 100 times. A few years ago, I contributed to social media on behalf of fans and the band on Facebook, Twitter, and Instagram. And in a delightful twist of fate, I even became friends with the band.

Thank you – Mike Connell, David Connell, George Huntley, Douglas J. MacMillan, Peele Wimberley, and Steve Potak. ‘Slackjawed’ indeed.

If you’re looking for a sonic journey that takes you straight back to the heart of ’90s alternative rock mixed with the jangle of the 1980s, look no further than ‘Ring.’

In a world where the music landscape is constantly evolving, shifting, and moving under our feet, The Connells’ ‘Ring,’ stands as a testament to the enduring power of pure, unadulterated rock ‘n’ roll. This band crafted an album that harkens back to the golden era of jangling guitars and heartfelt lyrics, delivering a sound that’s as fresh as it is nostalgic.

‘Ring’ kicks off with the infectious “Carry My Picture,” a track that immediately transports you to the heyday of college radio, with its catchy hooks, shimmering guitar lines (courtesy of Mike Connell and George Huntley), and blistering drums (from the fantastic drumming of Peele Wimberley). The Connells effortlessly blend elements of jangle pop and alternative rock, creating a sound that’s instantly recognizable yet uniquely their own.

The album is a journey through life’s ups and downs, with songs like “74-75,” “Running Mary,” “Sprial” (sung by Mike Connell), and “New Boy” tugging at your heartstrings with introspective lyrics and undeniable emotional delivery. The Connells’ frontman, Doug MacMillan, pours his soul into each word, making you feel every emotion as if it were your own. In fact, the raw emotional gravity of “74-75” led to that song charting in the UK and several European countries in 1995. The band toured in the UK and throughout Europe on the strength of this song. The piano and keyboards of Steve Potak add the perfect final touches to the song.

One of the standout tracks, “Slackjawed,” is a masterclass in songwriting, with its infectious melody and clever wordplay. The song’s refrain is bound to stick in your head long after the record stops spinning.

https://youtube.com/watch?v=wzHWcZsH74c%3Fsi%3DU3MjqzIxjNr0veW2

While ‘Ring’ is filled with moments of introspection and melancholy, it also boasts its fair share of upbeat and anthemic tracks, such as “Slackjawed,” “Carry My Picture,” “Doin’ You” (written and sung by George Huntley), and “Hey You.” The songs on the album showcase The Connells’ ability to balance introspection with exuberance, making for a captivating listening experience from the moment of the album’s release on September 21, 1993, to today thirty years later. From the songs on this album alone, the band should be huge, selling out every stadium you can care to name.

In true rock music fashion, it’s impossible to discuss ‘Ring’ without mentioning the band’s impeccable musicianship. Mike Connell’s guitar work is a thing of beauty, providing the perfect backdrop for MacMillan’s evocative voice. George Huntley provides guitar lines to weave and sway with just the perfect touch. The rhythm section, anchored by drummer Peele Wimberley and bassist David Connell, keeps the songs moving with an infectious groove that feels effortless and perfect.

‘Ring’ should have led a revolution, this record should be on every music fan’s lips like Nirvana’s ‘Nevermind’ or Bruce Springsteen’s ‘Born in the USA.’ ‘Ring’ is a reminder of the enduring power of great songwriting and the powerful magic of rock ‘n’ roll. The Connells crafted an album thirty years ago that captures the essence of a musical journey that still feels relevant in today’s ever-changing musical landscape. So, put the needle on the record or hit play on the CD player or stream it, and let ‘Ring’ take you on a journey through the timeless world of The Connells’ music. It’s a brilliant record that deserves a spot in your collection.

Dayton Guitars 4 Heroes on YTAA

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It is going to be quite the program today!

We have music from Tod Weidner, Cricketbows, No One Sphere, Rich Reuter, The Connells, Oh Condor, Nick Kizirnis, Amber Hargett Music, Samantha J King, The 1984 Draft, Todd Farrell Jr., Sammy Kay, XL427, The Nautical Theme and much more!

If that was not enough in hour #2 we have Ron Burns and Art Nitsch of Rec 4 Heroes / Dayton and Dayton Guitars 4 Heroes Band in the studio.

Ron and Art will talk about the Dayton Guitars 4 Heroes organization and what they do for veterans as well as the programs they offer for those service members who are dealing with PTSD, anxiety and combat related injuries.

We look forward to learning how music programs in general and guitar, ukulele and harmonica therapy in particular are used in helping veterans overcome challenges, especially the far too common response of self harm.

In hour #3 we have an interview with Dave Mann and Jarrett Nicolay of No One Sphere. We have download codes to their incredible record ‘Isn’t Everything About Something’ to give away!

So, join us from 3-6pm on Your Tuesday Afternoon Alternative on WUDR Flyer Radio 99.5/98 and online!

Video of The Day: The Connells – Steadman’s Wake

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Returning after twenty years since their last record (‘Old School Dropouts’), The Connells have just released a lyric video for the title track from their new record ‘Steadman’s Wake.’ The song captures social commentary on the opioid epidemic and more. With a build that leads to a rousing chorus and stunning guitar solo, this song captures many challenges in the current zeitgeist without leading listeners to predetermined conclusions. If the rest of the album is as captivating as the early singles ‘Really Great‘ and ‘Steadman’s Wake‘ suggest then the band in on most solid terra firma.

The album releases on September 24th and we could not be more excited.

Preorder Steadman’s Wake https://found.ee/v4M1 For more information about The Connells, visit theconnells.com

Video of the Day: The Connells – Really Great

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The Connells have not released new music since 2001’s Old School Dropouts. That now changes! The band has just announced their new album Steadman’s Wake out September 24th on Black Park Records! The new record was recorded at Overdub Lane and Mitch Easter’s Fidelitorium studio. The record was produced by John Plymale (a founding member of the Chapel Hill, NC band The Pressure Boys in 1981 as well as a founding member of The Sex Police in 1989).

The new record can be pre-ordered in several forms: digital, vinyl, and CD on the group’s bandcamp! You can also listen to ‘Really Great’ from any service where you get your music from Missing Piece.

The band has been playing some of the new songs in concert for the past few years whetting the appetites of Connells fans. The new album includes eight new songs (‘Really Great’, ‘Fading In (Hardy)’, ‘Steadman’s Wake’, ‘Song for Duncan’, ‘Burial Art,’ (which features Mike Connell on lead vocals) ‘Universal Glue’ ‘Stars’ and ‘Helium’) and three re-recorded versions of ‘Gladiator Heart,’ ‘Rusted Fields,’ and ‘Hello Walter’ (which also features Mike on lead vocals) from the previous album ‘Old School Dropouts’.

The Connells have also made their 1985 debut Darker Days available on all streaming services and on bandcamp. Give it a listen! And get ready for September 24th by checking the band out on tour!

Video of The Day: The Connells - Really Great

Video of the Day: The Connells – Seven

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The video for ‘Seven’ has been around since the release of The Connells‘ first album Darker Days. The album has recently been released digitally for the first time by the group on their bandcamp page! Tim Harper, the band’s long time soundman re-mastered the album this year. The name of the song ‘seven’ harkens back to a time when Mike Connell, the main songwriter at the time, numbered songs as he wrote them.

The Don Dixon, Dave Adams, Steve Gronback and Rod Dash-produced album was first released in 1985 on the band’s independent label Black Park Records in the United States, and on Elvis Costello’s Demon Records in the UK and Europe. The Black Park and Demon versions of the record are quite unique with different cover art and running order. Most significant is the substitution of “In My Head” for the instrumental “Dial It”, and several tracks were remixed. The Black Park version of the album was re-released in 1987 on TVT Records after the band signed with that label which they would be with until the end of the 1990s. The last record for TVT was 1998’s Still Life. The Connells released Old School Dropouts on their Black Park Records in 2001.

The Connells are preparing to release their latest record ‘Steadman’s Wake’ later this year.

 

Joe Anderl’s ‘Short Takes’

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Short TakesLet us take a moment and introduce our latest feature, Short Takes. We are asking musicians, artists, DJs, writers, spoken word performers and others involved in music and creative expression to write some short comments about what they are listening to right now. There are no rules regarding genre, style or year of release. What are people listening to now? What does it mean for them in a brief few sentences — hence the idea of a ‘short take.’

20992760_10159165029090537_2527313783301675441_nOur first ‘Short Takes‘ comes courtesy of Joe Anderl of The 1984 Draft. Joe is a kind, warm and thoughtful person who not only loves music, he feels it. His passion for music is inescapable in his current project The 1984 Draft. The ‘Draft are a phenomenal live band who capture the spirit of punk and post-punk melded with the introspection of the best music of the ’90s and beyond. 

The Draft’s last record ‘Makes Good Choices‘ was one of our favorite records of 2018!

The-1984-Draft-band-2018As quarantine and social distancing continue, as the world burns around us, and as I find myself filled with more and more rage over the ignorance and injustice in our county, I have found myself searching deeper in my music catalog for little nuggets of joy. Songs that remind of the past. Songs from simpler times. The thing is, there were never simpler times. Just different times. That being said, there can often be comfort in nostalgia, joy in discovering something new, and a new wave of emotions caused by a song listened to in a different phase of life.

These songs are the little nuggets of joy I have had in my life for the last couple weeks.

First, ‘Slackjawed’ by The Connells – I found myself watching a video on YouTube with the Best of 1993 from 120 Minutes. I particularly wanted to watch it as it included videos of the Afghan Whigs, Paul Westerberg, and Buffalo Tom.

R-2028725-1562522314-3760.jpegAs I watched all the videos and reminisced about wrapping tin foil around my boom box antenna to pick up 97X [modern rock radio station from 1983-2004], a song came on that I had remembered loving hearing every time it came on. That song was ‘Slackjawed’ by The Connells. I wondered to myself why I had never tried to purchase an album by them and why this song never found its way into my collection. That will change very soon as I have probably listened to it 30 times in the last week.

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Next, ‘Inside of Love‘ by Nada Surf.  I was a late adopter on Nada Surf. I heard ‘Popular‘ in high school and kind of wrote the band off as a one hit wonder. That changed some 20 something years later watching them headline at Midpoint Music Fest [Dr. J was there too! The band gave a great live performance and won over many music fans that day!] There is an absolute softness in the voice of Mathew Caws. His choice of words can often be so simple and telling in same moment.

When I listened to this song a couple weeks ago, I found myself so grateful that I live in a loving marriage, that I am on the inside of love. So much so I just keep listening to this song every time I need to remind myself how lucky I truly am.

Paul-Westerberg-Dyslexic-HeartLast but not least, ‘Dyslexic Heart’ by Paul Westerberg – What GenXer did not relate to singles in some way?

After spending the last few years of my life completely ravaging my Replacements catalog, I decided I needed to dive further into my Westerberg records. I started with something comfortable and easy. This song and ‘Waiting for Somebody‘ [also from the Singles soundtrack] have been every other day listen for me lately just to try and feel a little normal.

Thank you for a terrific ‘Short Takes’ Joe!

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YTAA 05-26-2020 Playlist

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We continue to share our playlists via Spotify here. Please give our show a listen and support these terrific artists directly in any way that you can! Now more than ever we need to support and take care of one another!

This week we are playing music from Yuppie, Jetstream Pony, Kidbug, Charlie Jackson and the Heartland Railway, The Beths, Steve Earle, WOODS, Trace Mountain, Khruangbin, The Sonic Dawn, The Radio Dept., David Allen, Porridge Radio, Rolling Blackouts Coastal Fever, Jason Isbell, Choir Boy, The Katawicks, Yalecollegegraduate, Jetty Bones, The National, Loose Tooth, True Lies, Wussy, Kyleen Downes, The Corner Laughers, The Story Changes, Hello June and more!

Check out the live stream from Yuppie at Encore Studios on May 27th at 8pm!

a0025564858_16We are also playing a brand new song that we are very excited to share with all of you music lovers!

‘Painting Pictures‘ is the latest and newest music from Dayton singer-songwriter, guitar player and all around amazing voice Amber Hargett that came out today! A real gift to have new music from her! Such a great song! She is joining a fine case of local musicians who are live streaming on May 30th to raise funds for Ohio restaurant workers!

R-1790873-1306445379.jpegIn addition to all of that musical goodness, we have two songs from The Connells — one song to celebrate the 22 years since the release for their album ‘Still Life’ and another rare live song ‘Rusted Fields’!

The ‘Still Life’ album was the last to include the original lineup of this legendary band! And the word is that the band has finished recording a new record that is headed our way soon, tentatively titled ‘Steadman’s Wake.’ Count us among the excited for this new music!

So give the playlist a listen. Dr. J will be posting videos on the Facebook page for YTAA beginning at 3pm because that is show time for YTAA! Please stay safe and be well!

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Sold Out Show in Richmond!

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The Connells played a fantastic Sold-Out Show in Richmond, VA on May 5th! By permission of the band and the band’s management we were allowed to capture the first few minutes of the show!