The Killers- “My Own Soul’s Warning” (Island)
This has truly been a fantastic album era for The Killers, with this current single equally as fantastic as the preceding “Caution”. It has that same aura and pivotal sense of impact as the greatest records from the golden era of classic rock. The Bruce Springsteen influence and E-Street Band flourishes are obvious, but also authentic and fantastic. This is the rousing sound of a band still very much at the peak of their creative powers.
Miley Cyrus and Dua Lipa- “Prisoner” (RCA)
Yes, Dua Lipa is everywhere these days, but that’s not to say that she doesn’t still pick her spots extremely well. “Prisoner” is the most dance-friendly track on Cyrus’ otherwise rock-heavy Plastic Hearts, and the two hitmakers’ steamy chemistry makes for a naturally fetching banger filled with bombastic beats and killer hooks. It doesn’t clear the high bar set by “Midnight Sky”, nor is it anywhere near the strongest track on a fantastic album, but it’s nevertheless a catchy and memorable listen.
Keith Urban and Pink- “One Too Many” (Capitol)
A colorful, melodic, and effervescent shot of irresistible pop pleasure. Urban and Pink are two of the most naturally gifted vocalists in the major label system today, and while they could have absolutely killed a captivating downer, they instead deliver a comforting make-up tune that never overstays its welcome. It’s a feel-good tune without ever being shallow or insipid.
Dierks Bentley- “Gone” (Capitol)
A slick yet scrappy tale that finds its narrator still very much in the slump he’s been suffering, while offering the sort of self-awareness that suggests he’s at least ready to climb out of it. It’s self-deprecating rather than ever succumbing to self-loathing, thanks to the kind of reliably charming deliveries Bentley has built his career upon. The production could stand to be a bit more The Mountain rather than Black, but that’s a minor complaint overall. “Gone” is another sturdy performance to join a catalog filled with them.
Ed Sheeran- “Afterglow” (Asylum)
An apparent one-off release from the recently quiet Sheeran, “Afterglow” refreshingly returns the superstar to the more humble, stripped down songwriter sound of early hits like “The A-Team” and “Lego House”. It’s nowhere near as potent or memorable as those signature tunes, but it’s far less ingratiating than the mawkish and over played “Perfect”. It ultimately succeeds based on the simple combination of pure vocals and tastefully restrained production.
Gwen Stefani- “Let Me Reintroduce Myself” (Interscope)
After a quiet stretch of years that saw her mostly playing second fiddle to fiance Blake Shelton on a pair of country hits, Stefani returns to her bold and brash ska stylings, and it’s a peppy return to form that will surely have her following jumping for joy. The lyrics insist that this is not a comeback record, but it certainly deserves to be. Fresh, fun and entertaining.
Royal Blood- “Trouble’s Coming” (Warner)
This British band is a recent discovery for me, and I’m really digging their slick and fresh take on garage rock. The influence of Jack White and The Raconteurs is obviously apparent, but the duo manages to confidently play homage to those records without ever sounding like cheap imitators. The intensity of their vocals, playing and personality is all like a musical whiplash upon first listen, and you better believe you’ll be coming back for more.
Aaron Lee Tasjan- “Up All Night” (New West)
The influences heard on this record are likewise laid out on the surface, and in the case of Aaron Lee Tasjan, those influences are full-on Tom Petty & the Heartbreakers, circa 1990. And once again, they’re a thrill to hear because Tasjan pulls from them without solely relying on them. He combines a vintage Heartland jangle with his own weird, trippy, and unapologetically sarcastic POV. I’m continuously playing this one, all the while wondering how I was in the dark on ALT these past few years.
I Don’t Know How But They Found Me- “Leave Me Alone” (Fearless)
Describing a record as a “revelation” is a phrase I’ve probably already overused during the short lifespan of this blog, but damn it, that is exactly what this track is. Hearing it for the first time is like experiencing the very idea of New Wave or synth-rock for the first time. It’s a fierce, exhilarating performance that commands the attention of every fiber in your being. These guys (which includes Panic! at the Disco alum Dallon Weekes) flat out kick ass, and I can’t wait to hear more.
Charley Crockett- “I Can Help” (Thirty Tigers)
A tremendous cover of the Billy Swan favorite from 1974, Crockett’s rendering is equally faithful and creatively reimagined, with a smooth blues-flavored rhythm section serving as a sensational backdrop throughout. His vocals are friendly and flawless, the musicianship astutely crafted, and the song’s charm timeless. Great stuff.
Wynonna- “King Bee” (Anti)
Culled from an EP of covers released last last year, it should come as no surprise that Wynonna absolutely masters this Slim Harpo standard with undeniable heat and power. She stays true to the swampy, muddy blues spirit of the original, and leaves us desperate for her to return to such a sound for a full-length album. Don’t commit the crime of overlooking Ms. Judd; she remains one of the most uniquely powerful voices on the planet.
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