What the f___? You know these hit songs (some of them could fall under the category “Hit Songs we Love to Hate”) but do you know where they originally came from? I found this cool blog posting that goes into all the sordid details of these hits. Here is the list and links for each:
Cliff Hillis (formerly of Starbelly and IKE) pulls together his third solo record. After he left IKE, Hillis worked on some songs for movie soundtracks and even won last year’s Chili’s contest with his Beatles-style take on the eatery’s “Baby Back Ribs” jingle. This new Hillis album has a more mellow spin here, with the pleasing tight melodies that sound like Glenn Tilbrook (Squeeze) mixed with John Mayer. The smooth catchy opener “She Sees” shuffles along at a casual pace that switches to the guitar buzzing goodness of the great “Never Understand” with those great “ooh ooh” vocals in the chorus. The album boasts a cadre of pop experts including his band The Thinkers, as well as Eric Bazilian(The Hooters), Danny Wilde (The Rembrandts), and Willie Wisely. The song “Elevator” is another standout of awesome light pop melody and tempered beat that flows right into the chorus. “Northern Lights” echos back to earlier albums and flirts with a Posies-like sound with heavier guitar. The Beatlesque mid-tempo “Ought to know” is another great tune with an unusual synth break during the main banjo melody. Every song here is good, and even the ballads don’t get too weepy. The songs delve into subjects about maturing relationships and marriage – without the usual gloom and doom you hear with other artists. This is a good solid album you are sure to enjoy.
My Space | Tallboy Records | Not Lame
Signal Hill Transmission “Smoking Gun”
This L.A. based four-piece returns and goes in a more pop direction, compared to the groups earlier efforts which were a alternative DIY or Roots styled. Very sharp clean commercial pop here, closer to classic Toad The Wet Sprocket on “On and Off” a super catchy single that is very welcome in replay mode on my ipod. The moody “Pause Then The Punchline” also weaves it’s way into your brain with a great chorus and lyrics. It gets even sparse on “One Way Ticket” like a Lemonheads-syled dippy-chorus that goes along and resigns itself, the lead vocal intones “I’m never gonna be what you want me to be, kid in a candy store, dream a big dream” – this is an excellent EP that does the very good job of making my mouth water for the next album. Check it out!
Signal Hill website | My Space | Itunes
Holmes “Basement Tapes EP”
Holmes has done some stellar work in the past, and now I guess he wants to let loose with something a bit different. It’s okay that the opener “Go Computer” sounds much like an old track off of a Devo album – it comes back to a great ballad in “Prove Me Wrong Again” where we here faint echos of ELO’s “Lorado Tornado” with a country twang similar to The Eels. But the most adventurous track here is a cover of Bowie’s “Let’s Dance” played as a gloomy slow dirge. It is nearly unrecognizable and yet very compelling to listen to. The ending track is closer to what Holmes last album sounds like, “Not A Political Song” with it’s catchy chorus and ironic lyrics about the end of the Bush era. It’s the highlight here with wonderful imagery of “Fat cats sitting atop a crumbling house” and “you’re history, you oughta sing along.” Most worthy and fitting, for Holmes – so when is the LP due?
A new site, created by several popular bloggers have created a survey, where you can post your top five album list right here.
I encourage you to add your opinions to the list and challenge John Borack’s top picks. It’s a busy time for me but I’ll post mine any day now. The poll is open until 10/31/08 — so vote today!
I found a few good songs on Minnesota native Jeremy Messersmith’s Alcatraz Kid. The Elliot Smith comparisons are still apt here, but the musical growth and songwriting development has really exploded with “The Silver City.” And Jeremy partnered with Dan Wilson (Semisonic) to paint a vivid picture of heavenly Suburbia. The opening track “Welcome to Suburbia” is a celestial pop triumph, with shimmering melodic chorus and George Harrison-like guitar accents that compliments Jeremy’s soft vocal. Much like the futuristic travellers on the cover the listeners will be treated to “Dead-End Job,” a great ballad with a lovely horns and more descriptive narrative. The next track “Franklin Avenue” is the shinning gem on this album, rich with instrumentation about a passerby “Waiting for that sinking feeling.” The production on the album is sparse, but dynamic with “The Commuter” resembling a the REM track “Man on The Moon” in feel and tone. And a bit of good electronica pop sneaks in with “Miracles” after this. The album sags a bit in the middle, but comes back strong on a version of Paul Westerberg’s “Skyway” and a very bouncy pop tune “Virginia” that demands repeat listens and I dare you not to tap your toe to the beat here. The closing track “Light Rail” continues the ride, with a McCartney styled ditty that’s a worthy followup to “Ob-La-Di, Ob-La -Da.” The album is like a great cup of coffee; rich, dark and sweet – but ultimately very soothing. Mmm… drink this one up.
Jeremy’s Site | My Space | Itunes | Emusic
Listen to “Miracles”