Nestled in the vibrant musical space of Asheville, North Carolina, Wagging emerges as a breath of fresh air, combining elements of country, folk, rock, and indie to create a sound that’s uniquely their own. With their captivating melodies, heartfelt lyrics, and at equal times dynamic and whispered performances, Wagging has swiftly become a cornerstone of Asheville’s excellent music scene.
At the heart of Wagging’s appeal lies their commitment to authenticity — any long time listener to our show will know how deeply that matters to us at Your Tuesday Afternoon Alternative. From the raw emotion in their lyrics to the organic instrumentation that permeates their sound, every aspect of their music feels genuine and unfiltered. This authenticity is evident from the moment you press play on one of their tracks, transporting listeners to a world where vulnerability is celebrated, perhaps even nurtured and all the while honesty is paramount.
One of the band’s most striking attributes is their ability to craft poignant narratives that resonate with audiences on a deeply personal level. Whether they’re exploring themes of love, loss, or the human condition, Wagging approaches each subject with a sincerity that is both refreshing and relatable. Songs like “Alien” and “Bent” showcase their talent for storytelling, painting vivid portraits of life’s triumphs and tribulations with poetic finesse.
But Wagging’s appeal extends far beyond their lyrical prowess. Musically, the band is a tour de force, effortlessly blending elements of alt country, folk, rock, and indie to create a sound that is at once timeless and contemporary. From the twang of the jangly guitar to the wail of a bouncy bass, every instrument in Wagging’s arsenal serves a purpose, adding depth and texture to their songs.
Central to Wagging’s sound is their dynamic instrumentation and tight-knit harmonies. Lead singer Alison’s haunting vocals soar above the lush backdrop of acoustic guitars and pulsating rhythms, creating a sense of intimacy and urgency that is impossible to ignore. Meanwhile, the rest of the band provide the perfect complement to Alison’s vocals, weaving intricate melodies and driving rhythms that keep listeners captivated from start to finish.
But perhaps what sets Wagging apart from their peers is their updated College Rock swagger. In live performance, the band proves that a trio continue to create an impenetrable harmonic wall of sound. Wagging’s live shows are not to be missed. Whether they’re playing to a sold-out crowd at a local venue or busking on the streets of downtown Asheville, the band approaches each show with an infectious energy and enthusiasm that is impossible to resist. From the moment they take the stage, it’s clear that Wagging is more than just a band—they’re a collective force of nature, hell-bent on spreading their message of love and solidarity to anyone willing to listen.
Wagging is a band on the rise, poised to make a significant impact on the musical landscape of Asheville and beyond. With their authentic sound, heartfelt lyrics, and electrifying live performances, they have carved out a space for themselves in the crowded world of indie folk rock, and it’s only a matter of time before the rest of the world takes notice. So do yourself a favor and check out Wagging—you’ll be glad you did.
Knotts, a dynamic artistic band hailing from Cincinnati, Ohio, has captivated audiences with their innovative approach to musical art. Comprising vocalist and multi-instrumentalist Adalia Powell-Boehne, Keyboardist Antoine Franklin, guitarist Jordan Wilson and drummer Isaiah Cook, KNOTTS has carved a niche for itself in the contemporary music scene through their catchy collaborative melodic weaving of rock, soul, loops, electronic and boundary-pushing sonic creations. Together, the band creates immersive moving personal musical experiences that challenge conventional notions of identity, connection and perception.
One of Knotts‘ most captivating and haunting songs is “Good Morning,” a large-scale sonic architecture that explores the interconnectedness of humanity, kindness and the irreplaceable act of uniting and building a relationship. Adalia’s powerful, plaintive, and emotional voice feels like the embrace of a long lost friend. The spark, heck the joy in the song springs from her incredible voice. The Song feels as if it comprises thousands of intricately woven musical threads suspended from the heart, forming a dense canopy that envelops listeners as they navigate the powerful act of deciding to spend a life together. Each thread of the song represents a human connection, symbolizing the invisible ties that bind individuals together in a shared experience of living.
As listeners move through the song (and the dare I say happy and vibrant accompanying video), they become acutely aware of their presence within this web of connections, prompting introspection and contemplation of their relationships with others. But this is not a heavy drowning question, it is has color and energy — saying yes to being with someone is supposed to be magical, mysterious and fun. Would you stay with someone while your face — and you — slowly age as demonstrated with the coming of lines on your face? The immersive and joyful bounce in the song allows for a deeply personal engagement with the music , transcending the boundaries of the all too often casual love song. “Good Morning” expresses the contentment and adventure of being with someone when you want to be there.
Knotts‘ work is characterized by a sense of fluidity and transformation, with many of their songs evolving over time in response to the questions of connection, identity, and being entangled within one another. By layering lyrical images and a sweep of keyboards, guitars and drums, they create a composition that challenge listeners to confront the realities of would they make the same decision to stay.
In a world increasingly characterized by division and isolation, Knotts offers a beacon of hope and connectivity through their music. By challenging listeners to reconsider their relationships with themselves and others, they inspire a renewed sense of empathy and understanding in an ever-changing world. As they continue to push the boundaries of artistic expression of love and connection in their music, KNOTTS remains a vital voice in the local music scene, reminding us of the transformative power of creativity and collaboration.
Knotts are playing tonight — Friday, March 1st at 7pm — with the powerhouse Heather Redman & The Reputation at The Oregon Express. Go Go Go!
Musician Tamar Berk is a gifted, meaningful songwriter who has a rare talent to craft songs that hit with an undeniable power. She is able to weave deeply personal narratives that remain honest statements of life, loss, grief, joy and everything across that continuum. Evocative songs, such as ‘Permanent Vacation’ possess a unique ability to stir deep emotions and create a lasting impact on listeners. Sonic compositions like ‘Permanent Vacation’ often go beyond the surface, tapping into the realms of nostalgia, love, melancholy, or even inspiration. They have the power to transport individuals to specific moments in their lives or trigger a range of emotions that resonate on a personal level. And while writing about deep subjects with an unflinching approach, the music swings and swirls. Tamar Berk’s music is catchy, driving and undeniably captivating. This is one of the reasons that Berk’s 2023 album ‘Tiny Injuries’ was one of our favorite records of last year.
One defining characteristic of evocative songs is their ability to convey a narrative or a mood through a combination of powerful lyrics and emotive melodies. The lyrics may tell a compelling story, exploring themes of love, heartbreak, resilience, or social issues. Simultaneously, the music complements these themes, enhancing the emotional experience and leaving a lasting impression on the listener. Tamar Berk excels at shining a light on these experiences.
These songs often become timeless classics, transcending cultural and generational boundaries. Tamar Berk is an artist who excels in creating evocative songs are adept at capturing the essence of the human experience, translating complex emotions into a musical language that resonates universally. Whether it’s the haunting vocals or the dynamic arrangement, ‘Permanent Vacation’ is a song that possess an undeniable allure that goes beyond mere entertainment. However, the video for ‘Permanent Vacation’ possesses a sense of fun that highlights the friction between powerful statement and the need to move beyond the weights we carry and the burdens that hold us down.
Listeners often connect with evocative songs on a personal level, finding solace, inspiration, or understanding in the music. The power of these songs lies in their ability to mirror the diverse facets of the human condition, offering a sense of companionship and shared experience. They remind us that we are not alone. How we feel matters. What we feel matters.
‘Permanent Vacation’ is an example of an evocative and damn catchy song that shares the common thread of leaving a profound impact while creating a lasting emotional resonance that extends far beyond the duration of the song itself. It is alright to need a break.
In popular music, certain songs become more than there frames of sound to become cultural phenomena. Band Aid’s “Do They Know It’s Christmas?” is undeniably one such song. Released in 1984, this track emerged as a powerful anthem of compassion and a call to action, rallying the global community to address the famine crisis in Ethiopia. On Christmas Day, 2023, we explore the genesis of the collaboration, consider it’s impact, and ponder the enduring legacy of “Do They Know It’s Christmas?” as a positive example by some in the music industry for reach for an opportunity to create music in order to inspire social change.
The catalyst for the creation of Band Aid and its subsequent anthem was the devastating famine that swept across Ethiopia in the early 1980s. Witnessing the horrifying images of starvation and suffering on their television screens, Bob Geldof, lead singer of The Boomtown Rats, and Midge Ure, Ultravox’s frontman, felt compelled to channel their concern, grief, and empathy into action. The result was the formation of Band Aid, a collective of some of the most prominent British and Irish musicians of the time.
“Do They Know It’s Christmas?” penned by Geldof and Ure in a whirlwind of creativity. The songwriting process was fueled by a desire to craft a poignant yet accessible message that would resonate with listeners and inspire them to contribute to the relief efforts. The lyrics, though simplistic in structure, carried a profound emotional weight, urging people to reflect on their own fortunes and consider the less fortunate, particularly those directly affected by the Ethiopian famine.
The recording of “Do They Know It’s Christmas?” was a momentous event that brought together an unprecedented gathering of popular musicians. On November 25, 1984, a constellation of pop stars, including all of the members of Duran Duran, Bono of U2, Boy George of Culture Club, Phil Collins of Genesis, George Michael of Wham!, Bananarama, and Sting of The Police, members of Status Quo, Spandau Ballet, Kool and the Gang, Heaven 17, among others, converged at SARM West Studios in London to contribute their vocals to the charity single. The collaborative effort resulted in a rich tapestry of voices, each lending its unique timbre to the song’s emotional resonance.
Produced by Trevor Horn, the musical arrangement seamlessly blended pop and rock elements, providing a catchy and uplifting backdrop to the poignant lyrics. The opening piano riff, the iconic chorus, and the heartfelt solos all contributed to the song’s timeless quality. Moreover, the collective nature of the project reinforced the idea that music could be a powerful force for unity and positive change.
Released on December 3, 1984, “Do They Know It’s Christmas?” achieved immediate success, soaring to the top of the charts in multiple countries. Beyond its commercial success, the song became a symbol of solidarity and compassion, raising awareness about the Ethiopian famine and inspiring a global movement for charitable giving. The song sold over two million copies around the globe and raised more than $24 million dollars.
The accompanying music video, featuring clips of the recording sessions and footage from Ethiopia, served as a visual reinforcement of the song’s message. Viewers were confronted with the stark reality of the famine, prompting a visceral emotional response that transcended geographical boundaries. The visual impact of the music video further fueled the charitable momentum, prompting viewers to take action and contribute to the cause.
One of the key aspects of “Do They Know It’s Christmas?” was its explicit call to action. The song urged listeners to “Feed the World” and implored them to recognize the shared responsibility of the global community in addressing issues of poverty and famine. This call to action resonated with millions, fostering a sense of collective responsibility and encouraging individuals to make a tangible difference through charitable donations.
While “Do They Know It’s Christmas?” remains a revered song for many people, it has not been immune to criticism. Some have argued that the song perpetuates a Eurocentric and paternalistic perspective, portraying Africa as a monolithic entity in need of Western saviors. The line “Well tonight thank God it’s them instead of you” has been particularly scrutinized for its potentially insensitive implications. Some critics have noted that the “over the top” approach in the music leaves little sonic space for introspection and reflection. The bombastic arrangement, capitalistic enterprise and self-righteous nature of the effort have also drawn criticism.
In response to these critiques, it is essential to acknowledge the historical context in which the song was created. Band Aid’s intention was not to perpetuate stereotypes or reinforce a colonialist mindset but rather to urgently address a humanitarian crisis using music to convey the need for action. Nevertheless, the criticisms underscore the complexities inherent in using music as a tool for social change and the importance of approaching such endeavors with sensitivity and cultural awareness.
Despite the criticisms, the positive impact of “Do They Know It’s Christmas?” cannot be understated. The song’s success catalyzed the Live Aid concerts in 1985, which raised substantial funds for famine relief in Ethiopia. The ripple effect of Band Aid’s initiative also inspired subsequent charity singles, such as USA for Africa’s “We Are the World.” These collective efforts demonstrated the potential of the music industry to mobilize significant resources for humanitarian causes, leaving an indelible mark on the intersection of music and social responsibility. Band Aid and Live Aid combined raised about $150 million dollars for the famine relief effort in Ethiopia.
Band Aid II was formed in the 1989 to re-record the song. Band Aid II’s version of “Do They Know It’s Christmas?” was produced by the legendary songwriting and production team Stock, Aitken and Waterman and took the song in a different direction. The follow-up was released on December 11, 1989, it topped the UK Christmas charts for 3 weeks. The line-up featured some of the biggest British stars of the late ’80s. In 2014, Band Aid 30, Bob Geldof and Midge Ure relaunched the project with music artists in an effort to draw attention to the Ebola crisis in Western Africa.
Despite the criticisms that have been leveled against the song, “Do They Know It’s Christmas?” by Band Aid stands as an example of the transformative power of music in addressing pressing global issues. Born out of a genuine desire to make a difference, the song became a rallying cry for compassion, unity, and social responsibility. Its impact affected the charts, influencing a generation of musicians and listeners to recognize the potential of their art to effect positive change.
While acknowledging the song’s imperfections and criticisms of it, we believe it is crucial to view “Do They Know It’s Christmas?” within the historical context and empathy of its creation. The song’s enduring legacy lies not only in its music but also in its ability to galvanize people to contribute to the greater good. As we reflect on the song’s influence over the decades, it serves as a reminder that music has the power not only to entertain but also to inspire, challenge, and, ultimately, change the world.
On December 1st, The Plus Four released an EP. However, that band is actually a trick, a sly slight of hand from Paul ‘Trip’ Ryan of SUPER 8. All songs on the EP were written, performed, recorded, and produced by Mr. Ryan. The music incorporates love of The Beatles, a sweet nod to Donovan, early ’60s melody and melancholy, and an unflinching focus on pop songwriting. The music of the 1960s stands as a testament to a revolutionary era, marked by social upheaval, cultural shifts, and artistic innovation. Drawing inspiration from this golden age of music allows contemporary artists such as ‘Trip’ to tap into a rich reservoir of creativity, blending nostalgia with modern sensibilities.
The ability to take influence of the past and build on to it is a testament to enduring impact on the evolution of the music being made by Mr. Ryan. From innovative approaches to sound and studio techniques to timeless songwriting and eclectic influences, music of the 1960s and 1970s continues to provide a rich tapestry for artists and musicians to draw inspiration. As indie musicians continue to forge their own paths in the ever-changing whirlwind of the music industry, the bands and musicians of the past remain a guiding light, a source of encouragement to embrace experimentation, celebrate diversity, and pursue artistic independence. The spirit of The Beatles, The Rolling Stones, The Who, The Kinks, The Animals, The Searchers, Donovan and The Dave Clark Five lives on in the independent music scene via innovative artists like Paul ‘Trip’ Ryan. He holds a sacred testament to the timeless and transcendent nature of music that is catchy and thoughtful.
Remember that when the beat leads you to sway, clap and hum with a smile on your face — even if the lyrics are telling you terrible things can happen to all of us — it is because of the undeniable gravity of the pop hook. And, Trip is a master of the pop hook. Sometimes looking back allows us to move forward.
The elusive secret of the pop hook lies in its ability to transcend the boundaries of musical genres and captivate the listener’s attention with infectious melodies. Trip’s music, and especially this EP, stands in the present while looking back over his shoulder to a past that still sounds fresh and meaningful. A pop hook is that magical element that makes a song unforgettable, a snippet of sound that embeds itself in the listener’s mind and refuses to let go. It’s the sonic glue that binds the entire composition together, creating a memorable and often addictive experience. And that magic is the stock and trade of Paul Ryan.
At its core, a pop hook is a concise and catchy musical phrase that serves as the focal point of a song. It can manifest as a catchy vocal melody, an irresistible chord progression, or a combination of both in most of Trip’s songs. The secret lies in its simplicity and universality, making it accessible to a broad audience. Whether it’s the sing-along chorus or the infectious riff of a guitar, the pop hook has the power to resonate with listeners across diverse musical tastes.
The elusive nature of the pop hook is in its ability to strike a delicate balance between familiarity and novelty. It draws upon musical conventions and structures that are recognizable to the listener, providing a sense of comfort and predictability. Yet, at the same time, it introduces a unique twist or unexpected element that sets it apart from the mundane, ensuring that it stands out in the crowded landscape of popular music. This ability to hold these competing ideas together at the same time is a gift that Trip was blessed to possess.
The pop hooks of Paul Ryan whether we call him ‘Trip,’ ‘Super 8’ or ‘The Plus Four’, possess a magical quality that transcends cultural and linguistic barriers. It communicates directly with the listener’s emotions, creating an instant connection that transcends words. You want to sway, hum, and nod your head. The simplicity of a well-crafted pop hook allows it to become a universal language of emotion, enabling it to resonate with people around the world or across the years. Trip’s music is a carefully crafted combination of simplicity and uniqueness that transcends genres and cultures, leaving an indelible mark on the listener’s musical memory. As long as there are ears to listen, Trip’s quest for the perfect pop hook will continue to inspire anyone interested in great pop music regardless of the label we put on it or the time period in which it is generated.
In the era of 90s alternative rock, The Pursuit of Happiness emerged as a jangly powerpop force, weaving tales of love, longing, and the tumultuous journey through a conflicted maze of human emotions. Among their repertoire of hits, “She’s So Young” stands as a beautiful jangly gem, capturing the essence of youthful passion and the bittersweet symphony of burgeoning adulthood versus the slow realization of growing older.
Released as a single in the same year as their debut album in 1989 as part of their Todd Rundgren-produced debut album “Love Junk.” The song from the Edmonton, Alberta band should have earned them much more critical acclaim and a much larger fan base across the world. Several decades later, this stunning melodic arrangement should have become an even more celebrated piece of music. Although the album was certified platinum in Canada, the band did not have similar success in the United States. Penned by band leader and lead singer Moe Berg in 1985, “She’s So Young” delves into the complexities of infatuation, desire, jealousy over the illusion of having everything figured out, and the rollercoaster of emotions that accompany the discovery of love in its most youthful, unadulterated form.
The track opens with an immediate vocal and jangly guitar riff that sets the stage for a sonic journey into the heart of lust, anxiety, and angst. Berg’s vocals, tinged with a perfect blend of vulnerability and raw passion, draw listeners into the narrative. As the lyrics unfold, a story of confused and unrequited love takes shape, encapsulating the universal experience of yearning for the unattainable and possibly unattainable for good reason.
Berg’s lyrical prowess shines through in lines like “Like the wisdom of ages, Will flow from her tongue, This is the delusion of the young, She says she’ll lead with her heart, But her heart really doesn’t know at all, I’ll get no satisfaction out of seeing her fall.” Here, he masterfully captures the paradox of youth—a time when the intensity of emotions often outweighs the depth of understanding. The song becomes a vessel for exploring the inherent contradictions of adolescence, where the naivety of youth coexists with the profoundness of burgeoning desires.
(Image credit: Jim Steinfeldt/Michael Ochs Archives/Getty Images)
The melodic cadence of “She’s So Young” mirrors the unpredictability of young love, seamlessly shifting between moments of exuberance and introspection. The instrumentation, marked by catchy hooks and a rhythm section that propels the narrative forward, mirrors the emotional turbulence of the song’s protagonist. It’s a musical engine where the energy of youth converges with the introspection of maturity, creating a sonic space that resonates across generations.
The chorus, a resounding declaration of unrequited love, encapsulates the universal theme of yearning that underpins the track. In fact, the original version of the song began with the chorus instead of the first verse. When re-recording the song for “Love Junk,” the band changed the order to build more tension in the song. Yet, the infectious chorus is power pop bliss: “She’s so young, She’s got the answers, She doesn’t need to question herself like I do” becomes a rallying cry for anyone who has experienced the all-consuming nature of a crush—an emotion that transcends time and space as it moves beyond rational understanding.
Beyond its musical allure, “She’s So Young” invites listeners to reflect on the transient nature of youth and the fleeting beauty of innocence. The song becomes a vessel for nostalgia, a sonic time capsule that transports the audience back to the moments of their own youthful infatuations. In this sense, The Pursuit of Happiness achieves a rare feat—capturing a specific moment in time while crafting a narrative that remains universally relatable.
While the song’s thematic elements resonate on a personal level, it also taps into the broader cultural landscape of the late 80s and early 90s. The alternative rock scene was undergoing a transformative phase, with bands like The Pursuit of Happiness contributing to the evolution of the genre. “She’s So Young” exemplifies the era’s preoccupation with introspective lyrics and a departure from the bombast of ’80s glam rock.
Decades after its release, “She’s So Young” endures as a song of authentic storytelling and infectious melodies. Its influence reverberates. “She’s So Young” stands as a compelling song that celebrates the complexities of human emotion, a reminder that the pursuit of happiness often involves navigating the labyrinth of love, loss, and the eternal quest for connection. This song remains a shining gem and a clear eyes wide-open statement of a collective memory of those who have embarked on the tumultuous yet beautiful journey of growing up.
As the holiday season wraps the world in its embrace, certain songs emerge as timeless classics that capture the essence of the Christmas season. One such masterpiece is “Fairytale of New York” by The Pogues, a ballad that has become synonymous with the festive spirit. Released in 1987, this iconic track has not only stood the test of time but has also woven itself into the fabric of holiday and seasonal celebrations around the globe. As we celebrate the music and spirit of Shane MacGowan, now seems a perfect time to revisit this evocative song.
At its core, “Fairytale of New York” is a love story set against the backdrop of a dark, gritty, and realistic Christmas in New York City. The Pogues, known for their fusion of traditional Irish folk and punk rock, bring a unique energy to the song, infusing it with equal parts melancholy and exuberance. The haunting accordion and tin whistle melodies, along with Shane MacGowan’s distinctive gravelly vocals, set the tone for a narrative that is as raw and painful as it is heartwarming and full of optimism.
Shane MacGowan’s voice has a distinctive tone, characterized by its raw authenticity and unconventional beauty. What sets MacGowan apart is not just his vocal range or technical prowess, but the sheer emotive power, a sense of brokenness embedded in his delivery. His gravelly, almost weathered voice possesses a rare ability to convey a myriad of emotions, from gritty defiance to heartfelt vulnerability. MacGowan’s vocal style is deeply rooted in his Irish heritage, channeling a feeling of being vulnerable, powerful, and carefree all at the same time. It carries the weight of experience and authenticity, echoing the struggles and joys of life.
It’s in the imperfections of his voice that MacGowan finds his uniqueness. The rough edges and unpolished quality lend a genuine and unfiltered quality to his singing. Whether he’s belting out energetic punk anthems or delivering poignant ballads, there’s an undeniable sincerity in every note.
MacGowan’s voice is inseparable from his lyrical strength. His storytelling prowess comes alive directly through his vocal delivery, turning each song into a vivid narrative. It sounds like each word is spit out from a hole deep inside himself. The words matter especially because of how much he feels them. The combination of his distinct vocal timbre and poetic lyricism creates a musical experience that is both timeless and unmistakably his own. Shane MacGowan’s voice is a testament to the notion that true artistry often lies in the embracing of individuality and authenticity rather than perfection.
The song’s opening lines immediately transport listeners to a cold, harsh Christmas Eve in the ‘Big Apple,’ with MacGowan’s vivid storytelling painting a picture of a city that is frustrating, enchanting, drenched in drink, and unforgiving. Kirsty MacColl’s response to MacGowan’s verses adds sonic depth and emotion, creating a duet that feels authentic and emotionally charged. Her tone cast again MacGowan’s almost growl fuse the vocals with sweet and unsavory in the same moment. The characters in the song, who appear to have seen better days together in the past, convey an unrelinquished sense of resilience and hope despite their struggles. One wonders if they continued to be together after the song ends. The narrative of the song creates a feeling that they should go their separate ways while knowing that deep in their hearts they will always care for one another.
What sets “Fairytale of New York” apart is its ability to encapsulate the bittersweet nature of the holiday season. It acknowledges the hardships and challenges that many face during this time while simultaneously celebrating the enduring power of love and the warmth that comes with it. The lyrics capture a spectrum of emotions, from nostalgia and regret to optimism and love, making it a song that resonates with a wide audience.
Musically, the arrangement is rich and dynamic, incorporating elements of folk, punk, and traditional Irish music. The orchestration, featuring instruments like the accordion and whistle, gives the song a distinctive Celtic flavor, infusing it with a sense of cultural authenticity. The orchestral crescendo in the instrumental break further elevates the emotional intensity of the song, making it a powerful listening experience.
Despite its sometimes somber tone, “Fairytale of New York” is undeniably a festive anthem. Its staying power can be attributed to its ability to capture the complexities of the holiday season and failed (or is that failing?) relationships making it a song that transcends time and resonates with listeners. As we celebrate the music of Shane MacGowan and the enduring legacy of “Fairytale of New York,” it remains a compelling statement to The Pogues’ artistry and their ability to craft a Christmas classic that is both timeless and unforgettable.
Once upon a time country music was made with an eye toward capturing authentic experience and real storytelling reigned supreme. David Payne’s latest release, “Best Intentions,” stands as a testament to the genre’s ability to capture the complexities of life. With its poignant yet accessible lyrics, soul-stirring melodies, and raw, unfiltered sound, Payne invites listeners on a profound sonic journey that delves into the depths of human emotion. The music video made to accompany the single deftly captures the feeling of the song.
The song opens with a twangy guitar riff that immediately sets the tone for what’s to come, the guitar lines bounce with a syncopation that reminds the listener of The Buckaroos’ Don Rich. Payne’s vocals, weathered by experience, carry the weight of the narrative, creating a sense of sincerity that resonates with the listener. It’s a classic country setup, but as the lyrics unfold, it becomes evident that “Best Intentions” is not just another run-of-the-mill country song. Instead, it navigates the intricacies of relationships, regrets, and the inevitability of life’s unpredictable twists. Sometimes we all need to step out for just a minute as the song reminds us.
At its core, the song explores the universal theme of good intentions gone awry. Payne’s lyrics paint a vivid picture of a protagonist grappling with the consequences of choices made with the purest of motives. The verses unfold like pages from a personal journal, revealing a depth of self-awareness and vulnerability rarely found in mainstream country music.
The driving rhythm and syncopation are where “Best Intentions” truly shines. A blend of heartfelt sincerity and a touch of melancholy, the refrain captures the essence of the human experience. Payne’s delivery is both soulful and genuine, carrying the weight of the narrative with every note he sings. It’s the kind of song that lingers in the mind, inviting introspection and resonating with those who have faced the complexities of relationships and the bittersweet nature of good intentions. Why do we need time away from those we care about? How does the time get away from us and suddenly — at least to us it seems a surprise — it’s “last call.”
The instrumentation plays a crucial role in shaping the song’s emotional landscape. The twangy guitars and fuzzy bass evoke a sense of nostalgia, paying homage to the traditional country sound, especially Buck Owens and The Buckaroos while infusing a modern edge. The arrangement is masterfully crafted, allowing each instrument to breathe and contribute to the overall sonic palette. Payne’s decision to keep the production stripped down and authentic enhances the song’s emotional impact, creating an intimate connection between the artist and the listener. The video enhances that idea by keeping the visual narrative of Payne in a bar drinking by himself.
It’s worth noting that “Best Intentions” stands out in the country music scene for its refusal to conform to formulaic trends. In an era where many artists prioritize commercial success over artistic integrity, Payne embraces the roots of country music, blending tradition with innovation. The song harkens back to a time when storytelling was at the forefront of the genre, and each note carried the weight of genuine emotion.
One of the most compelling aspects of “Best Intentions” is its ability to transcend the confines of country music and appeal to a broader audience. The themes of love, loss, and redemption are universal, making the song relatable to listeners across genres. Payne’s genuine approach as a storyteller shines through, creating an emotional resonance that extends beyond the boundaries of a single genre. Moreover, the song’s narrative depth opens the door for interpretation, allowing listeners to find their own meaning within the lyrics and the reason that the narrator needs some space to think. Whether reflecting on personal experiences or simply appreciating the artistry of the storytelling, “Best Intentions” invites a level of engagement that goes beyond casual listening.
David Payne’s “Best Intentions” is a standout addition to contemporary country music. Through its authentic storytelling, soul-stirring vocals, driving rhythm, and refusal to conform to industry norms, the song encapsulates the essence of a commitment to celebrating genuine artistic expression. As a sonic journey through the heart of a modern country, “Best Intentions” serves as a reminder of the power of music to connect us all through the shared experiences of the human condition.
Video By Brandon Berry at Broken Tape, LLC. The song was written by M. D. Payne Jr. It was produced, engineered, and mixed by Patrick Himes and David Payne on 2″ analog tape at Reel Love Recording Company in Dayton, Ohio. The song was mastered by Tim Pritchard at Great Horned Audio, Dayton, Ohio. Thanks to Magnaphone Records for releasing this country music gem.
The players: David Payne: Vocals, Acoustic Guitar Patrick Himes: Precision Bass, Percussion Brian Hoeflich: Drums Dan Spaugy: Electric Guitar Matt Spaugy: Tic Tac Bass, Fuzz Bass
William Matheny’s latest offering, “That Grand, Old Feeling,” is a testament to his prowess in writing amazing music and personal poetic expressions to everyday life and an album that transports listeners to a bygone era while maintaining a firm grip on the present. It is an alt-country approach, part rock and roll, part folk, part country that cannot easily be labeled. In fact, Matheny embraces both sides of the alt-country equation. Known for his evocative storytelling, Matheny has created a record that straddles the line between nostalgia and innovation, delivering a refreshing take on the timeless themes of love, loss, longing, and self-discovery.
From the very first notes of “That Grand Old Feeling,” it’s clear that Matheny has crafted an album that echoes the classic Americana and folk-rock sound of the 1970s swirled with a 2000s songwriter’s pen. The warm, inviting instrumentation showcases his deep appreciation for the genre’s roots, but it’s Matheny’s songwriting, alongside the exuberance and spirit of guitar, bass, and drums that compliment the lyrical dexterity that truly stands out. The album is a collection of character-driven tales and introspective narratives that tug at the heartstrings, demonstrating Matheny’s gift for storytelling that resonates.
The title track, “Grand Old Feeling,” is a poignant song that reflects the tone of the record. With its electric guitars that pause to make space for Matheny’s heartfelt, emotionally charged vocals, it’s impossible not to get lost in the song’s sentiment. It’s a masterful composition that transports listeners to a world where emotions run deep, and life’s complexities are explored with honesty and grace, and all the while Matheny is not afraid to rock out and give musical voice to the frustrations that are so passionately felt.
Matheny’s ability to craft relatable, memorable characters is on full display in tracks like “Stranger’s Voice” a bittersweet slow-build rocker that tells the story of a person yearning to escape their mundane life. His lyrics are vivid and evocative, making it easy for listeners to empathize with the characters and situations he describes while being able to see themselves in the story.
The album takes a turn toward a more reflective sound with “Down at the Hotel Canfield” and “Christian Name,” where Matheny’s band kicks into high gear, infusing the song with infectious energy. This track, along with “Every Way to Lose” — a delight on the album — and 70s-influenced “Late Blooming Forever” showcases Matheny’s versatility as a songwriter, seamlessly shifting between intimate, acoustic moments and rollicking, full-band arrangements.
Throughout “That Grand, Old Feeling,” Matheny’s vocals are compelling, conveying both vulnerability and strength. His voice carries a depth of feeling that brings his stories to life, making it easy for listeners to connect with the album’s emotional core while swaying and dancing about the room.
While the majority of the album shines brightly, there are moments where some songs, like “Every Way to Lose” and “Strangers’ Voice,” stand out. However, the flow across the album is impressive as Matheny’s songwriting prowess remains clearly evident, demonstrating his commitment to delivering quality songs that capture something authentic.
In “That Grand, Old Feeling,” William Matheny has crafted a record that effortlessly captures the essence of 1970s rock, Americana, alt-country, and folk-rock while presenting a collection of timeless tales that resonate deeply with the listener. It’s an album that evokes a sense of nostalgia while remaining wholly contemporary, reaffirming Matheny’s position as a gifted storyteller and musician who is not beholden to any one musical tradition. “That Grand, Old Feeling” is a dusty testament to the enduring power of well-crafted songs, and it’s a must-listen for anyone who appreciates the art of storytelling through music.
Tamar Berk’s “Shadow Clues” from her record “Tiny Injuries” is a haunting brilliant masterpiece that weaves a tapestry of emotions with each delicate note and evocative lyric. Much like a detective searching for hidden truths, Berk’s songwriting skillfully unravels the complexities of the human experience, leaving listeners mesmerized and introspective.
From the very first chords, “Shadow Clues” cast a spell, drawing you into its ethereal lightless world. Is it dark because of our choices, the slow realization that we can only hold back the long night for so long? Berk’s voice, a rich and emotive instrument in its own right, resonates with a raw vulnerability that feels like a whispered confession in the dead of night. Berk’s singing evokes Rebecca Gates. Her phrasing and delivery are reminiscent of great music storytellers, yet there’s a contemporary edge that makes the song uniquely her own. The slow build of the song encapsulates the twists and turns of both discovery and disconnection.
The lyrics of “Shadow Clues” are a masterclass in epic storytelling. Berk paints vivid images with her words, offering glimpses into a shadowy world of secrets that linger in both delicate exploration and uncertainty. Consider lines like:
"Because all that you learned was a solid stare
And a stiff upper lip and a handshake grip
And a deadpan expression with a frigid touch
Unresponsive to the needles that stab you so much"
These lyrics evoke a sense of mystery and intrigue, while the chorus’s refrain of “You know I never know What you’re feeling, Look for the shadow clues, On the ceiling” carries a sense of longing, fear, and nostalgia that is impossible to ignore. Yet you want to know what is being felt. But you can’t. Is this a song about losing someone we care about and watching them fade away from us when all we want is to see the life run back into their face, their hands, their spirit? It feels that way.
The arrangement of the song is equally captivating. The instrumentation is sparse and building, allowing Berk’s voice to take center stage, but every instrument is carefully chosen and expertly played. The haunting, almost cinematic quality of the music complements the lyrical themes, creating an atmosphere of suspense and melancholy that lingers long after the song fades.
In “Tiny Injuries,” Tamar Berk has crafted an album that explores the complexities of love, loss, and self-discovery through pain, and “Shadow Clues” stands out as a standout track that encapsulates the album’s emotional depth. It’s a song that demands repeated listens, revealing new layers of meaning and nuance with each playthrough.
“Shadow Clues” by Tamar Berk is a song that deserves to be celebrated and dissected, a beautiful piece of art that speaks to the human condition with honesty and grace. It’s a reminder of the power of music to touch the soul and stir the heart, and Tamar Berk is undoubtedly an artist more than capable of weaving a landscape of distance and closeness in unison. And this song catches in your throat like the effort to suppress a cry that traveled through you and within great distance in order to be released.
In an industry often saturated with formulaic hits and fleeting trends, Hello June stands as a refreshing gust of authenticity with their third single — ‘Sometimes’ — from the forthcoming album ‘Artifacts’. This indie-rock quartet hailing from Charleston, West Virginia, continues to carve their niche in the contemporary music scene with a sound that’s both hauntingly introspective and irresistibly groovy.
‘Sometimes’ opens with a mesmerizing guitar riff that immediately draws the listener into its melancholic embrace. The hauntingly beautiful vocals of frontwoman Sarah Rudy take center stage, carrying a raw emotional weight that’s impossible to ignore. Rudy’s voice, reminiscent of rock legends like PJ Harvey and Patti Smith, is both vulnerable and powerful, perfectly encapsulating the lyrical themes of introspection and self-discovery.
Lyrically, the song delves deep into the complexities of human existence and the ever-present battle between light and darkness within us. Lines like “Sometimes you want to cry / Sometimes you just can’t” resonate with universal truths, offering a lyrical depth that transcends the confines of typical rock fare. What we say and how we say it matters.
Musically, Hello June showcases their mastery of dynamics, seamlessly transitioning between hauntingly atmospheric verses and explosive, anthemic choruses. Artifacts, which comes out on October 6th on 31 Tiger Records, was recorded in Nashville at Bell Tone Recording with producer Roger Alan Nichols, featuring Rudy on vocals and guitar, Paul Niehaus on pedal steel (Calexico, Iron & Wine, Justin Townes Earle, Lambchop), Caleb Crosby on drums and percussion (Larkin Poe, Noah Gundersen), and Nichols on guitar (The Veronicas, Tyler Bryant & the Shakedown). The rhythm and swing of the song, anchored by drummer Caleb Crosby provide a solid foundation for the soaring guitar work of Rudy and Nichols punctuated by the dreamy pedal steel of Niehaus, all combining to create a sonic landscape that’s both captivating and emotionally charged.
‘Sometimes’ is a song that grows with each listen, revealing hidden layers and nuances that make it a standout track in Hello June’s body of work. It’s a testament to the band’s evolving artistry and their commitment to creating music that speaks to the human experience without feeling academic or false.
In an era when authenticity and genuine emotion often take a backseat to commercialism, Hello June’s “Sometimes” reminds us that there are still artists out there who are unafraid to bare their souls through their music. With its haunting melodies and introspective lyrics, this track solidifies Hello June as a band to explore and appreciate for anyone who loves a great song.
In “Sometimes,” Hello June has not only delivered a remarkable song but also a profound emotional journey that lingers long after the final notes fade. It’s a testament to the enduring power of rock and the boundless potential of this group. Keep an eye on Hello June; they’re poised to make waves in the music world.
I cannot pick a favorite song from Shady Pines Vol. 2 but the latest video from Mr. Johnson is a standout on the record. New Vampire is lyrically deep and musically rich. The song is propelled with a gravity of its own that explores the idea of how we experience evenings. The rhythms on this song are deceptively seductive. Nicholas does not have to scream to create an inescapable emotional impact. When he sings “The west is calling, the west is falling” — you believe him because you have felt the same way.
To say that he has a gift with a clever turn of phrase is a sincere moment of understatement. Nicholas takes the anomie and alienation that swells around us that feels like we are being pulled under the surface by a current of our own creation and makes it a statement that does not have the hollow ring of melancholy. The words reveal the power and passion of inescapable frenzy and yet surprisingly tantalizing prospect of loneliness of the current age in which we find ourselves:
Premonition and the prophet screams Rage into the void of a restless dream Phone screen burns like man makes fire Ushers in the age of the new vampire
New skin Paper thin Don’t you feel the new age dawning I can feel it move through my bones All the places I call home Yeah we crawl into the unknown Ah the west is calling The west is calling The west is falling
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