Free and legal MP3: Lydia Luce

Sumptuous song, beautifully sung

“Occasionally” – Lydia Luce

Gracefully built and sumptuously presented, “Occasionally” is gorgeous from end to end. Singer/songwriter Lydia Luce entices you first with the verse’s easy-flowing melodies, then all but pierces your heart with the swelling grandeur of the chorus. There is first of all that ear-catching way she lands on the “wrong” note (but very much the right note) at 1:08, on the second syllable of “away.” This then sets up a couple of yearning upward melodic sweeps before a definitive resolution at 1:24. Luce, a classically-trained violinist and violist, uses strings with a lovely touch, adding to the rich vibe while steering clear of both cliché and sentimentality (a good example is the interlude that follows the first chorus at 1:25, with the strings first in conversation with what sounds like a chime-like synthesizer, then taking a short lead before wrapping up with enticing restraint).

And the bonus here is that Luce is a serious instrumentalist in possession of a seriously enchanting singing voice. I’m guessing that her instrumental training may be at least partially responsible for how skillfully she employs her voice’s dynamic range—not just higher and lower notes but softer and louder tones as well. Her voice has a warm depth reminiscent of k.d. lang, and while this may be most obviously on display in the chorus’s heroic moments, I’m equally impressed with how golden and welcoming she sounds when she’s barely singing at all, as for instance in the opening moments of the verse (starting at 0:12). She makes this conversational segment of the song sound both casual and deeply felt, which lends the song a rather stunning tenderness right from the outset. One last thing to notice is how aptly the title word is sung, with its second syllable drawn out just as one might for emphasis in conversation. It’s another subtle sign of just how robust a song and a performance this is.

“Occasionally” is a single released last week, and will be the opening track on Luce’s second full-length album, Dark River, which is coming in February. Her first album, Azalea, was released in 2018.

photo credit: Betsy Phillips

Free and legal MP3: The Arthur Brothers

Mid-’60s vibe

“Sun Gun” – The Arthur Brothers

Arriving in 2020 straight from 1965 or so, “Sun Gun” pays nifty homage to a variety of classic British rockers from an era when sturdy melodies poured out of rock bands like sunshine in August, tinged by an awareness of the psychedelia on the near horizon. The Zombies, the Kinks, early Pink Floyd, they’re all in here, in the jangly guitars, the sweet spacey sing-along chorus, the swell of background harmonies, and the general sense that tea was involved along the way. If you’re not careful you’ll notice a soupçon of young-ish David Bowie in the air, or maybe Marc Bolan, and in any case the Arthurs make a nice case for grounding the entirety of glam rock, by all accounts arising in the early ’70s, in those earlier mid-’60s sounds.

The trick in all this is not to sound like a tribute band, and although it’s hard to point to any one thing they’re doing that shifts things into the 21st century, I am nevertheless getting a strong whiff of present-day creativity here. At which point I should note that the original version of this song on the album is more than nine minutes long, during which it definitely becomes its own sort of trip. (Here’s a link to the full version if you’re curious and have some extra time on your hands.) Personally I didn’t think the song quite justified its length; and yet, oddly, now that I’ve been living with the shorter version, I do have a sense that it could be longer. (Some people are never satisfied it seems.)

In any case, what really sells me on “Sun Gun,” in either length, is the brilliance of the classic-sounding chorus, which gathers an impressive amount of heft as the song progresses. This is partially due to restraint—we only hear the chorus three times in this edited version. The verse melody is different but with a similar rhythm and feel so it works to reinforce and familiarize the ear while at the same time allowing the chorus when it pops in to feel extra memorable.

The Arthur Brothers self-identify as an “artistic alliance” grounded in the work of brothers Matt and Danny Arthur and songwriter/producer/multi-instrumentalist J.C. Wright. They are based in London. “Sun Gun” is the final track on their debut album, Nine, which was released last month. You can listen to the album and buy it via Bandcamp.

Free and legal MP3: Ailbhe Reddy

Tuneful, bittersweet, sharply paced

“Looking Happy” – Ailbhe Reddy

“Looking Happy” matches an angular guitar riff that would do 1978 proud against lyrics bemoaning the reality of seeing an ex moving on with their life on social media. (We could only dream about the existence of social media back in ’78, although perhaps they would have been nightmares.) This is perhaps the subtlest of a few intriguing juxtapositions that characterize this tuneful, bittersweet song. There’s also the way the music’s upbeat energy counters, at every moment, the disconsolate lyrics. Relatedly, if you’ve ever heard a more sorrowful vocal tone matched against a song with the word “happy” in the title I’d like to hear about it. The fact that Reddy sings with such a palpable ache in such an energetic setting is itself a notable and engaging mismatch.

Best of all, though, is the music itself: sharply paced, tightly executed, and lit up by Reddy’s elastic voice, with its affecting upward leaps in the chorus (first heard at 0:38). An especially fetching vocal moment is wordless vocal break (1:00-:04); I love the descending swoop and then the finishing two-note punctuation—and then the fact that you hear this just once and it’s gone. This is the wonderful way concise rock songs work (this one clocks in just over three minutes)—nothing is belabored, nothing overstays its welcome. Check out for instance the synthesizer blurts that enter around 2:32, punctuating the song’s closing half-minute with a “ta-da!” kind of feeling. They show up, do their thing, and we’re done.

Ailbhe Reddy is a singer/songwriter based in Dublin. “Looking Happy” is a track from Reddy’s debut album Personal History, which was released earlier this month. You can listen to the whole thing, and buy it, over at Bandcamp.

Between reality and madness (Eclectic Playlist Series 7.09 – Sept. 2020)

The famous Becket line keeps playing in my head: “I can’t go on. I’ll go on.” That pretty much describes my head space here in September 2020, with corruption institutionalized, the pandemic yet untamed, and democracy itself on the ballot. We’ve been stuck, somewhere between reality and madness, for months on end. Someday this will all make sense, in retrospect, like everything else. In the meantime, I invite another playlist into your lives. And I’ve done you the service of putting the song I’d most like you to hear right at the top this month, so you won’t miss it—it’s a song from the Paris-based Brit Kate Stables, who does musical business as This Is The Kit, and it’s itchy and insistent and preternaturally wonderful. (“You thought you didn’t like the banjo but you were wrong pal,” says her Bandcamp page.) “This Is What You Did” came out in June; her album is coming in October. I of course would like you to listen to all the rest of the songs too but I know how life goes. But if you happen to have the time, I hope you enjoy the latest meandering adventure through the years and the genres, this time including three from our damaged new decade. Music doesn’t help, music helps. Stay strong.

The playlist:

“This Is What You Did” – This is the Kit (single, 2020; album due in October)
“Ain’t Nothing Gonna Change Me” – Betty Everett (single, 1971)
“Wounded” – Nik Kershaw (To Be Frank, 2001)
“Mary’s Prayer” – Danny Wilson (Meet Danny Wilson, 1987)
“Lost On You” – LP (Lost On You, 2016)
“Queen of the Night” – Michel van der Aa feat. Kate Miller-Heidke (Time Falling, 2020)
“Little Red Book” – Love (single, 1966)
“She’s a Girl and I’m a Man” – Lloyd Cole (Don’t Get Weird On Me, Babe, 1991)
“No Man’s Woman” – Sinéad O’Connor (Faith and Courage, 2000)
“Lay This Burden Down” – Mary Love (single, 1967)
“Panic in the World” – Be Bop Deluxe (Drastic Plastic, 1978)
“Class” – Chicago – The Musical (feat. Bebe Neuwrith, Marcia Lewis) (1996 Broadway
Revival Cast album, 1997)
“Been Here Before” – Jeremy Enigk (World Waits, 2006)
“Hum Dono” – Joe Marriott, Amancio D’Silva Quartet (Hum Dono, 1969)
“She’s a Sensation” – The Ramones (Pleasant Dreams, 1981)
“Placeholder” – Hand Habits (Placeholder, 2019)
“Late Night Conversation” – Josh Rouse (Dressed Up Like Nebraska, 1997)
“Feels Like the First Time” – Corinne Bailey Rae (The Sea, 2010)
“Summer, Highland Falls” – Billy Joel (Turnstiles, 1976)
“I Do” – Misty Boyce (single, 2020)

Bonus explanatory notes below the widget…

* Kate Miller-Heidke is a long-standing Fingertips favorite (first featured back in 2005), not least because of her idiosyncratic range of musical interests. And of course that incisive, wide-ranging voice. Here she has hooked up with a Dutch composer named Michel van der Aa, who has previously written in “contemporary classical” mode but has a background in indie rock; this comes from his first effort to make something of a rock album–Time Falling, released back in January. Idiosyncratic and prickly, it’s apparently a bit of a concept album, circling around the concept of infinity, and inspired by the likes of Jorge Luis Borges, Federico García Lorca, Emily Dickinson, and others. Miller-Heidke handles all the lead vocals, and co-wrote two songs, including this one. You can check the whole thing out, and purchase it, on Bandcamp.

* I’m hoping that Lloyd Cole’s insistently catchy “She’s a Girl and I’m a Man” is intentionally sexist-sounding, in order to make a point, but just in case I’m reading this wrong (it was after all released in 1991), let’s run that one into Sinéad O’Connor’s blazing anti-patriarchy anthem, 2000’s underrated “No Man’s Woman.” And no, Sinéad doesn’t always write lyrics that scan, but for my ears anyway her voice makes up for it.

* Where has “Lay This Burden Down” been all my life? I only recently stumbled upon it, which I guess goes to show what great soul nuggets remain out there to be found. That chorus with the delayed melody line (i.e., how those opening lines each begin on the measure’s second beat): it’s as iconic sounding as an old soul record can be, and no doubt became so some years after its original release, on the UK Northern Soul scene. All of Mary’s original singles, most recorded for the L.A.-based Modern Records label, were first gathered onto an album in 1994, along with songs from the gospel-oriented second phase of her career, in the 1980s. A more recent version of her collected singles was released in 2014.

* Danny Wilson, from Scotland, was a band, not a person. They were originally named Spencer Tracy, but got some blowback from the actor’s estate. This was the song they were known for, although the album had some other good things. The band split with no hard feelings after two albums. Front man Gary Clark went on to a successful career as a songwriter and producer, which continues as we speak.

* At this point, the methodical, reclusive musician Jeremy Enigk seems like a figure from another time and place entirely. First coming into some renown as leader of the somewhat mysterious and influential band Sunny Day Real Estate, in the 1990s, Enigk has had a slow-moving solo career, highlighted by a long hiatus or two and the distinct lack of a public-facing persona. “Been Here Before” is a stately, gorgeous piece from his 2006 album, World Waits, released 10 years after his first album. His most recent recording is 2017’s Ghosts.

* I’ve always loved “She’s a Sensation,” a somewhat forgotten gem in the Ramones catalog. You can really hear their Brill Building fandom cooked into this one, and the way Joey funneled his adenoidal pique into something that veers into genuine tenderness by the second hook.

Free and legal MP3: Pillow Queens (incisive rocker w/ a mysterious pull)

What begins abruptly and somewhat droningly transforms itself with repeat listens into an authoritative rocker with a hint of transcendence.

“Handsome Wife” – Pillow Queens

“Handsome Wife” exerts a mysterious pull. What begins abruptly and somewhat droningly transforms itself with repeat listens into an authoritative rocker with a hint of transcendence. If you want an aural handhold, listen for the muscular guitar line that rings out at 0:39, shifting the ear away from the background drone, tantalizing with its unresolved finish, implying a momentous chorus that we don’t yet hear, but will soon.

Now then, there are some well-known one-note melodies in rock history (think “Subterranean Homesick Blues,” or “It’s The End of the World as We Know It”), but perhaps just as ear-catching and maybe somewhat trickier to pull off is the two-note melody, such as we get in the chorus (1:17). At this point Pamela Connolly’s fervent vocals, kicked up a register, convey a quivering air of vulnerability that pushes the song into greatness. The allure is heightened by elusive but perfectly sculpted lyrics:

I was young and I was honest
Me and all your father’s daughters
Laid beside the tide to take us
Kissed the bride and fought your favours
I may not be the wife you want
But I’m pregnant with the virgin tongue

I can’t tell you with any certainty what these words mean, and yet they vibrate with impalpable significance. I think this has to do with two attributes: first, the fact that each line itself is comprehensible, even as they don’t, together, become a digestible narrative; second, the words scan (i.e. match the rhythm of the melody) perfectly, with the opening four lines, including many one-syllable words, aligned in strict trochaic tetrameter (the academic term for what you might in your head associate with childhood rhymes—think, “Peter, Peter pumpkin-eater”; “Twinkle, twinkle little star,” etc.). I’d argue that songs with lyrics that properly scan are unconsciously more impactful than songs with scattershot accentuations. I wish more songwriters agreed.

The last piece of the snowballing puzzle here: the wordless bridge (2:27), in which Connolly’s voice retreats into a choir of reverb, dueting with a guitar line at first in sync and then offering a reassuring countermelody. Following this, the restated chorus sounds somehow more assertive and empowering, even as I still don’t know exactly what she’s singing about.

Pillow Queens are a foursome from Dublin. “Handsome Wife” is the lead single from their debut album, In Waiting, coming out on September 25. You can pre-order the album, and listen to a few more tracks, via Bandcamp. MP3 via KEXP.

Free and legal MP3: Static in Verona (power pop earworm)

Everything about the song is a testament to craft, which strikes my ear as a particularly special thing in such an onrushing tune as this.

“Poor Juliet” – Static in Verona

Maybe there’s a technical term for the upbeat, syncopated melody featured in “Poor Juliet”‘s verse—the easy-to-listen-to but tricky-to-pinpoint movement, which shifts emphasis from the third beat (the ET of “Ju-li-ET”) in the first measure to the second beat in the second (the SET of “so up-SET”). Perhaps it has something to do with matching four syllables against three beats of rhythm? In any case the un-technical term would be “earworm,” because ever since hearing this song, this is the part that has relentlessly been playing in my head.

Which is almost unfair to the song, since the chorus goes on to deliver an irresistible dose of power pop melodicism that is otherwise the killer hook here (1:01). We’re dealing with a classic chord progression, to be sure, but it’s pumped up by the sparkling beat, the background organ, and some ear-catching intervals (i.e., the jump up from “don’t” to “let” at 1:07 and the jump back down from “other” to “girls” a moment later). Everything about the song is a testament to craft, which strikes my ear as a particularly special thing in such an onrushing tune as this. (As I now think about it, it seems more common to find smartly crafted tunes working in more deliberate tempos, maybe?) A good example: the subtle changes made to the second verse (e.g., the backing vocals that echo the lyrics [first heard at 1:27], or the alterations to the original melody), which may be neither necessary nor expected in a song this concise (run time 2:42).

Static in Verona is the band name the Chicago musician Rob Merz has been employing since 2009. He was previously featured here on Fingertips back in 2015 for the song “Blindfold,” itself another slice of pithy power pop goodness. As for the Juliet here, yes it’s the legendary one, but with a twist—in the song, according to Rob, her father saved her and is doing his best to offer solace in the wake of her grief. Oh and the connection between the tragic title character—famously a resident of Verona, Italy—and his band name (generated from a random incident near Verona, Wisconsin) was unintended.

“Poor Juliet” is a track from the new Static in Verona album, Sometimes You Never, released last month. You can listen to the album and buy it for a price of your choosing via Bandcamp. While you’re there, check out the previous five Static in Verona releases, all also available for whatever you’d like to pay. Thanks to Rob for the MP3.

Free and legal MP3: Orion Sun (dreamy, minimalist)

From the carefully plucked guitar through the smeary background wash and methodical drumming, the song delivers a vibe at once vague and precise, and pulls you along on its short and sultry journey as if in a comfy, if minimalist, dream.

“Ne Me Quitte Pas (Don’t Leave Me)” – Orion Sun

And while some songs succeed via melody, there are those that establish a place in your head via atmosphere, like Orion Sun’s “Ne Me Quitte Pas (Don’t Leave Me).” From the carefully plucked guitar through the smeary background wash and methodical drumming, the song delivers a vibe at once vague and precise, and pulls you along on its short and sultry journey as if in a comfy, if minimalist, dream.

Orion Sun—the performing name for the Philadelphia-based singer/songwriter Tiffany Majette—favors melodies that bounce up and down, lending a rapping rhythm to her singing, or, for you truly old-school folks, bring recitative, from the opera world, to mind. The effect is at once conversational and intimate, and is accentuated by the plainspoken feelings on display, with the repeated chorus of “It feels so good to know you,” augmented by a blurry proffering of “so good”s.

The texture is so carefully established that I find myself fascinated by the way the primary guitar line sounds at once central to the song and yet spends most of the time not playing. It only finishes its full phrase at the very beginning (0:04) and then again near the very end (2:34); and it literally sounds like someone pulls the plug on the instrument halfway through the introduction (0:10). Yes, if you listen closely you will in fact hear the guitar underneath the chorus but it seems to be there all but subliminally, to give you a vague memory of something you aren’t fully experiencing.

As for the title, if there’s a reason Majette co-opted the title from a Jacques Brel classic (not to mention Regina Spektor’s more recent and much perkier song of the same name), it’s not immediately apparent. “Ne Me Quitte Pas” is from the debut Orion Sun album, Hold Space For Me, released back in March on the Mom + Pop record label. You can listen and purchase via Bandcamp. MP3 via KEXP. You might also be interested in a newer track of hers, “Mama’s Baby,” which was written in response to Majette having been attacked and injured by police during a protest in Philadelphia in May. Track is here; a newspaper account of the incident and resulting song is here.

Free and legal MP3: The Daily Spreadsheets (layered, hymn-like)

A ringing guitar tone, carefully paced, sets the stage for this subtly unusual rocker.

“I’ll Never Change” – The Daily Spreadsheets

A ringing guitar tone, carefully paced, sets the stage for this subtly unusual rocker. Hang with this one for a while; what “I’ll Never Change” may lack in a certain polish it makes up for in its cumulative power.

The structure is fairly simple. The song alternates between two melody patterns; the second one may be considered the chorus if only because it concludes with the title line, “I’ll never change.” After a relatively naked run-through to start us off (0:09), we get introduced, at 0:27, to the layered vocals that will characterize the rest of the song. The vocal texture deepens as we go, via both blankets of harmony and intertwining countermelodies.

The song grows hymn-like as it proceeds, starting especially at the coalescing harmonies we hear at 1:30. Has it occurred to you yet that there’s been no percussion? No worries, the drums are coming, right after that itchy guitar solo that disrupts the vibe (in a good way) at 1:49. The drumming that starts at 1:53 delivers a modified Spector beat, which is both unanticipated and wonderful (maybe because I’m a sucker for that beat, in whatever form it takes). From here the song continues on its determined path, with one addition—a chord shift at 2:13 that alters the feel of the now-familiar melody in an appealing way, and sets up the song’s closing section, which includes two satisfying endings: the vocal closure from 3:07 to 3:12, and the instrumental denouement that follows.

The Daily Spreadsheets is another one man band this month, the bailiwick of Brazilian musician Henrique Neves. You can hear a few of his other tracks over at SoundCloud, including a brand new remix of “I’ll Never Change.” Thanks to Henrique for the MP3.

(Side note: Henrique first contacted me via Fluence, which is a place where you can pay a nominal fee to have me do a review of your song. There is no guarantee at all that this leads to a feature on Fingertips; in the vast majority of the cases, it doesn’t. But it does guarantee that I will listen closely to a song and give my relatively detailed reaction. You can learn more about this and submit a song at this link: https://fluence.io/fingertipsmusic)

I’ve been through enough lately (Eclectic Playlist Series 7.08 – August 2020)

Even as I take pains to keep it from dominating these playlists, good old classic rock, my long-time area of focus and expertise, is always going to have a place here. It is something of my task, in fact, not only to keep worthy classic rock songs in people’s awareness, but to enhance their impact, by mixing them in and around music from other genres and other eras. A simple idea, so rarely done in this age of siloed listening. I would draw your attention to all three classic rock entries this month, as two of them in particular epitomize the kinds of great songs that have been generally ignored by what’s become of the genre both on the radio and on the internet. First there’s the opener, Thin Lizzy’s “Do Anything You Want To Do,” which is wonderfully emblematic of this underrated band’s sound without (thankfully) being “The Boys Are Back In Town.” And then, about halfway down, you’ll hear “Immigration Man,” a song that was regularly heard on FM radio in the ’70s—it even cracked the top 40—but dropped off the radar with the passing of years. This was Crosby and Nash without Stills (or, of course, Young), from the first of four studio albums they made as a duo. A few songs later you’ll hear one of Steely Dan’s finest compositions, perhaps a little less forgotten, and about which more below. In and around these chestnuts, I’m offering the usual mix of the unusually mixed—old soul, 2020 pop, Brazilian instrumental, new wave, singer-songwriter, indie rock, reggae: it’s all in here, and then some, including at least one great if accidental segue. Stay safe, stay strong, and happy listening…

The playlist:

“Do Anything You Want To” – Thin Lizzy (Black Rose: A Rock Legend, 1979)
“What It Is” – Angel Olsen (All Mirrors, 2019)
“Un bacio è troppo poco” – Mina (b-side, 1965)
“I’m In Love With a German Film Star” – The Passions (Thirty Thousand Feet Over China, 1981)
“Heart’s Desire” – Ron Sexsmith (Cobblestone Runway, 2002)
“Flavor of the Month” – The Posies (Frosting on the Beater, 1993)
“Daisy” – Kate Davis (Trophy, 2019)
“Me and the Wind” – XTC (Mummer, 1983)
“Immigration Man” – David Crosby & Graham Nash (Graham Nash David Crosby, 1972)
“My Future” – Billie Eilish (single, 2020)
“Stronger Than Love” – James Carr (A Man Needs a Woman, 1968)
“Westby” – Kathleen Edwards (Failer, 2003)
“Doctor Wu” – Steely Dan (Katy Lied, 1975)
“Best Intentions” – Satchmode (Collide, 2014)
“2:1” – Elastica (Elastica, 1995)
“Got To Be Tough” – Toots and the Maytals (Got To Be Tough, 2020)
“Glamour Boys” – Living Colour (Pride, 1988)
“Maria Moita” – Sérgio Mendes (The Swinger From Rio, 1968)
“Lightning Strikes Twice” – Saint Etienne (Tales From Turnpike House, 2005)
“After This” – Kate Rusby (Ghost, 2014)

Bonus explanatory notes below the widget…

* Kathleen Edwards released her first album in eight years this month as I was curating this playlist. I’m still absorbing the album—it’s good!—and in the meantime felt moved to return to her stellar debut for one of its many incisive tunes. “Westby” is jaunty, mischievous, and brazenly catchy, a sure sign of a 25-year-old singer-songwriter with a promising future. That she, burnt out and disillusioned, interrupted her musical career to run a coffee shop in Ottawa (named Quitters) for eight years merely enhanced her credentials as an honest to goodness human being. Now 42, she sounds sharp and unfettered. Check out the new album at Bandcamp: https://kathleenedwards.bandcamp.com/album/total-freedom.

* Public service announcement: I suggest that you do not search for the Sérgio Mendes album A Swinger From Rio without your “safe search” settings on, unless you are sure you are alone. And even then.

* “Doctor Wu” is a high-water moment for Steely Dan, and (I’d argue) for rock’n’roll. Its flowing melodicism, harmonic craftiness, lyrical flair, and exquisite musicianship speak to the goals of a different generation, maybe, but it still sparkles to my 2020 ears. (#TwinstheNewTrend actually did dive into some Steely Dan a while back; a simpler song—“Do It Again”—but well worth watching: https://www.youtube.com/watch?v=EqITzPGD0Ko) It’s moronic to me that the Dan caught any backlash for their craft but I guess there will always be those who choose, to quote the poet, to criticize what they can’t understand. My only complaint about Fagan & Becker is that they seemed to lose their melodic gifts in their advancing years (as many older artists do for one reason or another), rooting their later-catalog songs in groove and atmosphere. Not that there’s anything necessarily wrong with that, but I will always prefer “Doctor Wu” and “Rikki Don’t Lose That Number” and “Deacon Blues”—songs that manage to be easily accessible and musically interesting at the same time.

* For a number of mental-health-related reasons, I have trained myself to steer clear of the over-heated, insta-feedback world of social media, so I have no idea where Billie Eilish stands in this precise moment within that culture. All I know is what I hear with my ears and as such, from my perspective, this still very young musician (she’ll be 19 in December) is proving herself to be a durable and dynamic star, capable of blending up-to-date sounds and rhythms with a sense of melody and musical know-how that feels wise beyond her years. I respect most of all those who themselves show respect. (Note that if this were more generally true we could not be in the pickle we’re in, a country led by a human with no respect for anything or anyone.) I look forward to witnessing whatever Ms. Eilish chooses to do with her future.

* For you Elvis Costello fans who appreciated “Sulky Girl” last month, I have an Elvis-adjacent nugget this time around—the song “Un bacio è troppo poco,” from the Italian songstress Mina. Born Anna Maria Mazzini, she was and still is a huge star in Italy, having recorded some 79 albums (!), including four since 2015. The Elvis connection, which is how I know this song: the sultry beginning of “Un bacio è troppo poco” is used as an offbeat, ongoing sample throughout EC’s offhandedly monumental “When I Was Cruel No. 2,” the semi-title track to his 2002 album.

* Accidentally great segue of the month, for you segue fans: “Daisy” into “Me and the Wind.” I’m generally aiming for reasonably effective segues but this kind of thing I pretty much stumble into without planning it. Simple pleasures feel especially powerful right now.

Free and legal MP3: S.G. Goodman (raw, authoritative Americana)

“Old Time Feeling” – S.G. Goodman

The subtly defiant “Old Time Feeling” launches with the crunch and sizzle of raw authority and doesn’t relent. The beat is seductive, the lyrics tantalizing, the melody sturdy, and singer/songwriter S.G. Goodman’s voice has a sawdust dignity at once fragile and powerful that compels you to close listening.

The song’s stomping vibe—Americana with a rough-hewn edge—underscores a rare, if wry, toughness of spirit. A native of Western Kentucky, Goodman here offers an across-the-bow challenge to the persistent, delusional self-image that has been sadly characteristic of the South. As she recently told Spin magazine, “I think for the longest time, Southern music has perpetuated some of the outdated/never-should-have-been-a-rallying-point-to-begin-with message.” Weird sentence editing aside, I love that “never-should-have-been-a-rallying-point-to-begin-with” part. And even if not overtly imbued with “Lost Cause” revisionism, there has long been that “good old boy” self-righteousness represented in Southern music that presents a rollicking, affirmative cover to a region long beset by deep-rooted troubles of all kinds—economic, political, social, you name it. Goodman’s eye-opening pivot in “Old Time Feeling” has three parts: first, the recognition of said troubles—she refers to the “sickness in the countryside,” and sings, “The southern state is a condition, it’s true”—and second, the declaration that there are people in this complex region who are working on change. Thus the repeated chorus “We’re not living in that old time feeling.” She then goes one important step further, taking to task those who complain about the traditional Southern way but leave rather than stay to help with the transformation:

Oh, and I hear people saying how they want a change
And then the most of them do something strange
They move where everybody feels the same

Goodman’s response to them?:

I’ve got a little proposition for you
Stick around and work your way through
Be the change you hope to find

“Old Time Feeling” is the lead single from Goodman’s debut album of the same name, produced by Jim James of My Morning Jacket and released in July on Verve Forecast. Goodman had previously fronted a band called The Savage Radley, which released an album entitled Kudzu in 2017.


photo credit: Meredith Truax