Another mix of melodic, ready-to-enjoy pop music. This month’s mix does have a couple political songs, but not ones that get too preachy. There’s also a good variety including bubblegum, classic rock, show tunes, and the usual pure pop.
The Orion Experience — “Emerald Eyes” (2011)
Musically, the Orion Experience embrace the immediate pop giddiness of 1970s bubblegum. On one hand, they’re quite clever with their lyrical updates, which project a kind of urban, hipster feel. On the other, I can easily imagine that if someone hears this song in 40 years time, they’ll say, “Getting a guy’s name tattooed on your wrist? That’s so 2010s.”
Paul Kelly — “Before Too Long” (1986)
This Aussie gem is power pop perfection in the interplay between guitar and piano, the strong melody, and the harmonizing with the female vocalist near the end. And how about that middle eight? It’s not showy, but it does everything that a good middle eight should. It ups the emotional ante a bit and the sproingy guitar flourishes add a not unpleasing discordant touch.
Bleachers — “Alfie’s Song” (2018)
I’ve kept an eye on Bleachers, mainly because of Jack Antonoff’s involvement with the dearly departed fun.. And while they’ve had a few good songs, there’s an almost aggressive quality to their ’80s tribute-ness that I find off-putting — too many huge drums and shouty, staccato vocals. But “Alfie’s Song” is something different. It’s still retro, but with a wider and better range of influences. There’s a Paul Simon calypso quality, as well as a admirably restrained Clarance Clemmons-style sax. As usual, the mode is triumphant, but the prettier instrumentation and wash of “ahh-ahh-ahh” backing vocals tone it all down a bit. More of this, please!
Bob Seger — “Still the Same” (1978)
Here’s this month’s obligatory classic rock song that people will scoff at, yet I will insist is good if you give it a chance. The hook is simple, but unforgettable. And Seger’s portrait of an unrepentant gambler is just vague enough that nearly everyone can read someone they know into the story. I’ve always particularly liked the “only bluff you couldn’t fake” line, as it implies some kind of vulnerability to this otherwise cold-blooded character. Shout out to the ladies singing back-up vocals on this: Venetta Fields, Clydie King, and Sherlie Matthews. They were some of the best in the business at that time.
The Killers — “Run for Cover” (2018)
I always forget whether The Killers are British or American, but this Springsteen pastiche leaves no doubt. It’s a big, hooky, sing-along anthem — The Killers’ bread and butter. There’s some political stuff in there, including the reference to “fake news” and the line “Are your excuses any better than your senator’s?” But I get the sense that the song is more personal, perhaps only hinting that that bad behavior of politicians has begun to seep into our own relationships.
Kirsty MacColl — “Free World”
Kirsty MacColl’s “Free World” is so perfectly melodic, beautifully sung, and lyrically sharp that it actually makes me like a political song. It helps that “Free World” doesn’t feel like a lecture, but rather an impressionistic dystopia brought about by credit cards and free trade. The high note on “I wouldn’t tell you/if I didn’t care” is gorgeous, as is the way she lets it linger even as the next chorus kicks back in. That’s Johnny Marr on guitar too.
Frank Turner — “1933” (2018)
Again, political songs work best when they’re not lecturing you. Frank Turner avoids this on “1933” by mixing anger with a kind of throwing up of hands. What is there to do but hit the bar? I like the bit about the Greatest Generation being pissed at recent events, and I’ve often had a similar thought myself — though I suspect that’s mainly wishful thinking. If nothing else, the anger gives Frank something to get riled up about, a good turn around from his slightly boring previous album. Compositionally he’s spot on as always, with hooks that would make Brittney Spears proud, dressed down in punk camouflage.
Mike D’Abo — “King Herod’s Song (Try It and See)”
This is such a weird song to like. Despite not being a practicing Catholic for many years, I feel somehow disrespectful enjoying this musical interpretation of Herod mocking Jesus. Yet, I’ve been listening to it all the time lately, along with other highlights from the Jesus Christ Superstar soundtrack. Translating Herod into the modern archetype of a sleazy, overly-tanned rich guy who treats Jesus like a performing seal is just one example of why the whole Superstar thing works. The vaudeville idiom hammers home the sideshow vibe, in addition to being super catchy. (By the way, I’ve been working on this mix for a while, and it’s a total coincidence that I finished it on Easter. I will be DVRing the live Superstar tonight to see how Alice Cooper does with this one.)
The Cleaners from Venus — “Clarendon Lane” (2000?)
Just a jaunty little tune conjuring up a psychedelic streetscape circa 1968. What I like about Martin Newell is that he’s an underground figure, but the chief quality of his songs that they’re readily enjoyable.
Sloan — “Right to Roam” (2018)
Every song written by Sloan’s Jay Ferguson has the dusty glow of a sunbeam streaming through an open window. “Right to Roam,” from Sloan’s upcoming 12th album, has an easy melody, Anglo-pastoral themes, and some great handclaps. You’ve got to love a song that can incorporate the words “Marquess of Anglesey.”
Blossoms — “I Can’t Stand It” (2018)
Blossoms are kind of just your basic Brit rock band wearing a lot of ’80s and ’90s influences on their sleeves. But as usual their strong melody writing and perfect arrangements result in an infectious, classic-sounding track.
Sheryl Crow — “The First Cut is the Deepest” (2003)
“The First Cut is the Deepest,” written by Cat Stevens and recorded by countless others, has a melody that conveys sadness so much more viscerally and directly than its somewhat confusing lyrics ever could. I like Crow’s version, because her vocals have a straightforwardness that doesn’t rely on theatrics to get the point across, which is what this song needs. She’s probably one of the most underappreciated artists of the ‘90s.
fun. — “Why Am I the One?” (2012)
While it has its virtues, fun.’s Some Nights album has already begun to sound dated — the one exception being this blessedly auto-tune free ballad. It’s the song from the album that wouldn’t have been completely out of place on either of Nate Ruess’s previous pop opuses, and it’s almost certainly near the top of my best of the 2010s list (a list I am uniquely unqualified to write). The melody is one for the ages, the arrangements bring the right amount of drama, and the middle eight so good that I’m always mad it doesn’t get fully repeated when that little teaser comes at the end. To paraphrase Nick Hornby, it’s the kind of big, emotional ballad that makes you want to sing with your eyes closed, and I’m glad Fun had one last chance to write the kind of uncool, revealing track I love them for.