You thought no record contract would mean we'd be waiting a long time before we'd be hearing Blake Lewis's voice on another music track? Apparently, that's not the case--I give you Darude featuring Blake Lewis, "Selfless."
As you'd guess from that artists list, it's not a Blake song and isn't pop; it's very much on the electronica side of things. Should you for some reason want to buy it (it's apparently for a charity of some sort), iTunes is selling it.
Also, he got a dog.
Monday, October 06, 2008
Sunday, October 05, 2008
As I watch my feet take turns hitting the ground
I can't remember whether I've ever mentioned this on the blog or only in comments elsewhere, but I don't like John Mayer's music (no, this isn't going to be about his rising-up-the-charts cover of "Free Fallin'")--blame "Your Body's A Wonderland" and "Daughters" (I'm sure I'm just setting myself up for the day he releases something brilliant and I have to take that back, but those songs really do drive me crazy). In fact, I usually, despite all evidence to the contrary presented here on the blog, think of myself as being pretty leery of male singer-songwriter types (note that the singer-songwriter type is not necessarily the same as someone who writes and sings their own songs; the latter need not necessarily be the former and, to an extent, vice-versa).
All that notwithstanding, I've been hopeful about Jon McLaughlin since back in 2006. His song "Industry" appeared on this blog in its first few months of life and it's a song, in that version, that I'd still stand up for today, one of the songs I'm most glad I've posted (I think the version that eventually went on to appear on his major label debut, Indiana, was inferior--it felt like it had been excessively padded out to create a sound that would cause people to say "oh, he's a great piano-based (serious) singer-songwriter," when in fact it was the greatness, the willingness and knowledge to rise and fall, to let things build and to let them fall out, of the original version that actually proved that point). "Praying To The Wrong God" and, to a little lesser degree, the delicate croony "Beautiful Disaster" from Indiana are great songs as well, and yet somehow I wasn't sold enough to buy the whole album. He was still an artist I continued to have great hope for, though, that one day he'd live up to his promise, and I was really hoping his appearance in the movie Enchanted with the song "So Close" would end up bringing him the level of fame he deserved.
The song won him an Oscar nomination, but despite Jon actually appearing in the movie singing the song, he didn't properly break, at least not at the level I would like.
He's just recently been given a second chance at making it big (or at least the level of big your singer-songwriter can get to), and with some surprising big writers and producers supporting him (as well as with a bit of a restyling--see photo below); the final song in this post was, unexpectedly, produced by Tricky Stewart and The-Dream. On a new record label, Jon's released the single "Beating My Heart" (video here), but once again mainstream success seems to be proving elusive for him. With the album, titled OK Now, set to come out in a few days, I guess all I can do is hope buzz builds after its release or he'll get yet another chance.
Of the songs we've heard from this era, not all work for me, but the ones that do are great. I'm not sure whether it's Jon's voice, whether he's got a better ear for melody, or whether I just bring less prejudices to the table with him, but he manages to win me over where other singer-songwriters don't: on the ballads. "Things That You Say" is a ballad that goes for that not unheard "lie to me, say our relationship is better off than it actually is" angle, but there's something dreamy about enough of the moments here that I buy it, hook, line, and...well, and almost sinker.
"Smack Into You" is, once again, a ballad, but despite my best efforts to resist, that swoony chorus sucked me in. It's a slow-burning song, the very opposite of what the title leads you to expect--well, perhaps not; that title does have a bit of an Adult Contemporary ring to it, doesn't it? And the song is that, but it's no worse off for it. It's an enfolding, enveloping song, and if countless people are robbed of the ability to fall in love to the soundtrack of Jon's warm, intimate-yet-increasingly-flirting-with-epic reassurances and especially that final "ryunnn-ryunnn-ryunnn-ryunnn-ryoo-oo-oo-oo-oun" because "Smack Into You" is relegated to being an iTunes bonus track, I will not be happy. Could a widely watched TV show license it for use in a key scene right now, please?
To preorder Jon McLaughlin's new album, OK Now, due out October 7, go here (physical). To listen to clips of all the songs, go here. I don't know how the album as a whole will be, but we've at least got several gems out of the full lengths songs we've heard so far. He is incorporating bits of '80's influence into his singer-songwriter style here--we'll see how it works out, though I hope it does so.
Next up: maybe that Belgian song.
All that notwithstanding, I've been hopeful about Jon McLaughlin since back in 2006. His song "Industry" appeared on this blog in its first few months of life and it's a song, in that version, that I'd still stand up for today, one of the songs I'm most glad I've posted (I think the version that eventually went on to appear on his major label debut, Indiana, was inferior--it felt like it had been excessively padded out to create a sound that would cause people to say "oh, he's a great piano-based (serious) singer-songwriter," when in fact it was the greatness, the willingness and knowledge to rise and fall, to let things build and to let them fall out, of the original version that actually proved that point). "Praying To The Wrong God" and, to a little lesser degree, the delicate croony "Beautiful Disaster" from Indiana are great songs as well, and yet somehow I wasn't sold enough to buy the whole album. He was still an artist I continued to have great hope for, though, that one day he'd live up to his promise, and I was really hoping his appearance in the movie Enchanted with the song "So Close" would end up bringing him the level of fame he deserved.
The song won him an Oscar nomination, but despite Jon actually appearing in the movie singing the song, he didn't properly break, at least not at the level I would like.
He's just recently been given a second chance at making it big (or at least the level of big your singer-songwriter can get to), and with some surprising big writers and producers supporting him (as well as with a bit of a restyling--see photo below); the final song in this post was, unexpectedly, produced by Tricky Stewart and The-Dream. On a new record label, Jon's released the single "Beating My Heart" (video here), but once again mainstream success seems to be proving elusive for him. With the album, titled OK Now, set to come out in a few days, I guess all I can do is hope buzz builds after its release or he'll get yet another chance.
Of the songs we've heard from this era, not all work for me, but the ones that do are great. I'm not sure whether it's Jon's voice, whether he's got a better ear for melody, or whether I just bring less prejudices to the table with him, but he manages to win me over where other singer-songwriters don't: on the ballads. "Things That You Say" is a ballad that goes for that not unheard "lie to me, say our relationship is better off than it actually is" angle, but there's something dreamy about enough of the moments here that I buy it, hook, line, and...well, and almost sinker.
"Smack Into You" is, once again, a ballad, but despite my best efforts to resist, that swoony chorus sucked me in. It's a slow-burning song, the very opposite of what the title leads you to expect--well, perhaps not; that title does have a bit of an Adult Contemporary ring to it, doesn't it? And the song is that, but it's no worse off for it. It's an enfolding, enveloping song, and if countless people are robbed of the ability to fall in love to the soundtrack of Jon's warm, intimate-yet-increasingly-flirting-with-epic reassurances and especially that final "ryunnn-ryunnn-ryunnn-ryunnn-ryoo-oo-oo-oo-oun" because "Smack Into You" is relegated to being an iTunes bonus track, I will not be happy. Could a widely watched TV show license it for use in a key scene right now, please?To preorder Jon McLaughlin's new album, OK Now, due out October 7, go here (physical). To listen to clips of all the songs, go here. I don't know how the album as a whole will be, but we've at least got several gems out of the full lengths songs we've heard so far. He is incorporating bits of '80's influence into his singer-songwriter style here--we'll see how it works out, though I hope it does so.
Next up: maybe that Belgian song.
Saturday, October 04, 2008
Take your shoes off
I would have posted today's song earlier if not for the computer drama. Sadly, there's something about it that sounds a little different from the version on the radio, but none of the remixes I've listened to since then have matched up either, leaving the radio edit as the closest I can get.
(The video really is pretty lovely--it's got a pretty cinematographic look to it, especially coming from a Swedish artist [I love Sweden, but a lot of its artists tend to make cheap-looking videos. Watch this one using YouTube's high quality option if you can.)
Strawberry--the debut single from producer Adrian Lux, "Strawberry" features some of Those Dancing Days (and the vocals are theirs). As I mentioned, my memory of the version I heard on the radio doesn't quite line up with this version, thought that could just have been some things being lost due to lower radio quality; the version I thought I remembered hearing but probably didn't really smoothed out some of the electro backing, not taking down the song's tempo at all but giving it a more chilled feeling. Even as is, though, the song, like the video, is still pretty lovely, with the crisp electro-dance raindrops providing a background for the apparently innocently-styled vocal part.
To buy Adrian Lux's new single "Strawberry," go to any iTunes store or here (digital). Since this is a new single and it's easy for anyone to purchase, it'll only be posted for a short time.
Next up: maybe a Belgian artist or another new Swedish song.
(The video really is pretty lovely--it's got a pretty cinematographic look to it, especially coming from a Swedish artist [I love Sweden, but a lot of its artists tend to make cheap-looking videos. Watch this one using YouTube's high quality option if you can.)
Strawberry--the debut single from producer Adrian Lux, "Strawberry" features some of Those Dancing Days (and the vocals are theirs). As I mentioned, my memory of the version I heard on the radio doesn't quite line up with this version, thought that could just have been some things being lost due to lower radio quality; the version I thought I remembered hearing but probably didn't really smoothed out some of the electro backing, not taking down the song's tempo at all but giving it a more chilled feeling. Even as is, though, the song, like the video, is still pretty lovely, with the crisp electro-dance raindrops providing a background for the apparently innocently-styled vocal part.
To buy Adrian Lux's new single "Strawberry," go to any iTunes store or here (digital). Since this is a new single and it's easy for anyone to purchase, it'll only be posted for a short time.
Next up: maybe a Belgian artist or another new Swedish song.
Friday, October 03, 2008
You saved me with a sound
Not that I'm obsessive or anything, but you can listen to the studio version of Elin Lanto's "Discotheque" on Catchy Tunes' MySpace. Sadly, it's in low quality, but I would imagine it's better quality than those videos we've heard it from so far. I'm holding off my final verdict until I hear the high quality version.
(Yes, the computer is back...came back without any programs on it, but with all documents saved, thank gooodness.)
(Yes, the computer is back...came back without any programs on it, but with all documents saved, thank gooodness.)
Friday, September 26, 2008
Another 30-second update from a temporarily hijacked computer: on Wednesday, the IT people told me it takes a week on average to deal with my problem. If the computer is alive when I get it back, hopefully I'll be back around then.
In good news, the lack of computer should hopefully force me to get more work done. In bad news, it is INCREDIBLY FRUSTRATING to not be able to listen to any of "Womanizer" or "The Boy Does Nothing." Or any of Monrose or Will Young if they're out there. Sigh.
In good news, the lack of computer should hopefully force me to get more work done. In bad news, it is INCREDIBLY FRUSTRATING to not be able to listen to any of "Womanizer" or "The Boy Does Nothing." Or any of Monrose or Will Young if they're out there. Sigh.
Wednesday, September 24, 2008
My computer is in the IT doctor's office right now. The good news is I keep my music on an external hard drive which should hopefully be fine. The bad news (in addition to the files on it that I need for, you know, real life and stuff) is that I won't really have computer access, and definitely not the ability to upload songs, until I get it back, and I have no idea how long that's going to be. Thank you SO much to the people patient enough to still be reading this blog, though, given all the interruptions and problems I've had recently. Hopefully all this will be resolved fairly quickly.
Monday, September 22, 2008
For old times' sake
Am I the only one who, every time she hears the beat of the new All-American rejects song, "Gives You Hell," keeps thinking "oh, they've sample Busted's 'Year 3000'!" I mean, I don't really think they have, but that beat is kind of similar to a part of that song. It's kind of an odd song from them, at least as a lead single--that strong guitar part we're used to from them doesn't come in until more than a minute into the song, when we get to the chorus for the first time, and even then, it isn't that guitar-y. I really don't know what to make of it--is it good? Kitschy and disappointing? Different and good? Less different than I think it is? Is the technique that it uses for the last 50 seconds, that whole-crowd-chanting-the-lyrics technique, something that makes the song more powerful, or a desperate attempt to give the song some sort of impact? Should the whole thing have been more musically fleshed-out, or would there then have been nothing special about it? I have no idea. I could be raving about in a week or barely ever listening to it again. "Dirty Little Secret" was just such a perfect adrenaline rush of a song--one of the best of the century so far for me, for sure--that I can't help feeling unenthused about this song so far. It could just be a matter of having to get used to something different than what you were expecting, and the "oooOOOO"s are definitely a good thing.
Dutch Idols winner Nikki's new single (and her first real post-winner's single single), "Bring Me Down" (listen on a MySpace-equivalent), on the other hand, doesn't have any sort of odd quarter-novelty value thing about it; it's fairly straightforward pop-rock. Guitars aren't in short supply here, though they're not overbearing either. Then again, so far I've been raising a similar question about it to one of the ones "Give Me Hell" caused: should it have been more musically fleshed-out? I like the chorus, but it kind of feels like whoever wrote it thought "oh, this might be good" and, instead of polishing it and expanding it, just left it as that basic initial idea. I like "Bring Me Down," though (and I expect it could grow on me), and I'd be posting it instead of the AAR song if I had it, but, as far as I know, it's only for sale on Dutch iTunes so far.
The new All-American Rejects album, When The World Comes Down, doesn't come out until November 18 (tentatively), but you will eventually be able to pre-order it from Amazon (it's not yet listed).
Dutch Idols winner Nikki's new single (and her first real post-winner's single single), "Bring Me Down" (listen on a MySpace-equivalent), on the other hand, doesn't have any sort of odd quarter-novelty value thing about it; it's fairly straightforward pop-rock. Guitars aren't in short supply here, though they're not overbearing either. Then again, so far I've been raising a similar question about it to one of the ones "Give Me Hell" caused: should it have been more musically fleshed-out? I like the chorus, but it kind of feels like whoever wrote it thought "oh, this might be good" and, instead of polishing it and expanding it, just left it as that basic initial idea. I like "Bring Me Down," though (and I expect it could grow on me), and I'd be posting it instead of the AAR song if I had it, but, as far as I know, it's only for sale on Dutch iTunes so far.
The new All-American Rejects album, When The World Comes Down, doesn't come out until November 18 (tentatively), but you will eventually be able to pre-order it from Amazon (it's not yet listed).
Sunday, September 21, 2008
I don't know what this is, but you got me good
You know what drives me crazy? Having to re-evaluate songs because you see them used in a certain way and suddenly gain a whole new appreciation for them.
Maybe the biggest example of this recently is M.I.A.'s "Paper Planes." Short of liking "Bucky Done Gun" and, to a lesser degree, "Galang" from a few years ago, I'd pretty much always written her off as one of those critically-acclaimed artists that I was never really going to get. If you think about it, avoiding an artist just because they happen to get good reviews and be cool to mention in public is as awful as avoiding an artist just because they're popular, but that's what I did. I think I listened to a little thirty second clip of "Paper Planes" around the time the album came out, didn't think it sounded good, and moved on...until--like, apparently, a bunch of Americans--I couldn't help enjoying it when it was used in the previews for the movie Pineapple Express.
It's all about context sometimes, though, I guess--and I've never appreciated "Bleeding Love" more than I did when Mark and Chelsea danced a heartbreaking routine set to it this past summer on So You Think You Can Dance. It's a song that I've been--as I've said in the past--too (unfairly) frustrated by to properly enjoy, but for two minutes, that was no longer a problem. Seeing the performance on a bigger screen and in higher quality lends a lot to it. as that way you can see their expressions--by the end you're left feeling that Chelsea really is crushed.
Duffy's another artist I've failed to connect with, but, once again, So You Think You Can Dance brought out an appreciation in me for a song I didn't really enjoy before and, to be fair, still don't really listen to much after: "Mercy." Twitch and Katee's crazy ex-girlfriend routine is really something worth watching.
Chris Brown's "Forever," on the other hand, was already a song I had no problem enjoying, but my love of it was only enhanced by Twitch and Comfort's performance, which was likewise enhanced for me by my love of the song. Where they cut off the song always leaves me wanting more, though. Still, fantastic song, fantastic routine, fantastic dancing--plus, it's got my other two big SYTYCD weaknesses: shiny clothing and flashing lights. What more could you ask for?
Next up: I realize this is two non-song posting posts in a row; it's not going to be the usual, don't worry. Tomorrow might be a new Swedish song.
Maybe the biggest example of this recently is M.I.A.'s "Paper Planes." Short of liking "Bucky Done Gun" and, to a lesser degree, "Galang" from a few years ago, I'd pretty much always written her off as one of those critically-acclaimed artists that I was never really going to get. If you think about it, avoiding an artist just because they happen to get good reviews and be cool to mention in public is as awful as avoiding an artist just because they're popular, but that's what I did. I think I listened to a little thirty second clip of "Paper Planes" around the time the album came out, didn't think it sounded good, and moved on...until--like, apparently, a bunch of Americans--I couldn't help enjoying it when it was used in the previews for the movie Pineapple Express.
It's all about context sometimes, though, I guess--and I've never appreciated "Bleeding Love" more than I did when Mark and Chelsea danced a heartbreaking routine set to it this past summer on So You Think You Can Dance. It's a song that I've been--as I've said in the past--too (unfairly) frustrated by to properly enjoy, but for two minutes, that was no longer a problem. Seeing the performance on a bigger screen and in higher quality lends a lot to it. as that way you can see their expressions--by the end you're left feeling that Chelsea really is crushed.
Duffy's another artist I've failed to connect with, but, once again, So You Think You Can Dance brought out an appreciation in me for a song I didn't really enjoy before and, to be fair, still don't really listen to much after: "Mercy." Twitch and Katee's crazy ex-girlfriend routine is really something worth watching.
Chris Brown's "Forever," on the other hand, was already a song I had no problem enjoying, but my love of it was only enhanced by Twitch and Comfort's performance, which was likewise enhanced for me by my love of the song. Where they cut off the song always leaves me wanting more, though. Still, fantastic song, fantastic routine, fantastic dancing--plus, it's got my other two big SYTYCD weaknesses: shiny clothing and flashing lights. What more could you ask for?
Next up: I realize this is two non-song posting posts in a row; it's not going to be the usual, don't worry. Tomorrow might be a new Swedish song.
Saturday, September 20, 2008
I'm reborn at the discotheque
After only approximately AGES ("My Favorite Pair Of Jeans" doesn't count--it wasn't a real single and it was too close to the annoying "Money" side of her for my taste), we're FINALLY getting Elin Lanto's next single.
Let's revisit the brilliant "Speak 'n Spell," shall we?
So many icon-in-the-making moments in that.
Her new single is called "Discotheque" (promising!)--watch her perform it below.
I'm sorry, I hate this expression, but: OMG OMG OMG. I LOVE her reinvention. This album is going to be brilliant--it better be. Disco disco disco! (I'm saying this based on what I think the studio version will sound like.) I've been waiting and waiting for new material from her since the amazing popstar transformation that was "Speak 'n Spell" and the accompanying visuals took place, and finally getting new material from her that sounds like it'll live up to expectations is just fantastic. One site says the single comes out this September, but I'm not sure if that's still true.
(Also, I may be reading too much into it, but it is a just-under-three-minutes-long song...)
Edit: if you want to hear what might be more of a playback version of the song in lower quality, watch her performance from EuroPride; it starts at 3:14 of the video below. BRILLIANT.
Let's revisit the brilliant "Speak 'n Spell," shall we?
So many icon-in-the-making moments in that.
Her new single is called "Discotheque" (promising!)--watch her perform it below.
I'm sorry, I hate this expression, but: OMG OMG OMG. I LOVE her reinvention. This album is going to be brilliant--it better be. Disco disco disco! (I'm saying this based on what I think the studio version will sound like.) I've been waiting and waiting for new material from her since the amazing popstar transformation that was "Speak 'n Spell" and the accompanying visuals took place, and finally getting new material from her that sounds like it'll live up to expectations is just fantastic. One site says the single comes out this September, but I'm not sure if that's still true.
(Also, I may be reading too much into it, but it is a just-under-three-minutes-long song...)
Edit: if you want to hear what might be more of a playback version of the song in lower quality, watch her performance from EuroPride; it starts at 3:14 of the video below. BRILLIANT.
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