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Unlike Greta Van Fleet, the zoomer band notorious for aping their own revivalist referent, Led Zeppelin, Kristi molds the earnest, fuzzed-out yearning of the Cranberries and Veruca Salt for her own purposes. The 1965 song would feel like a pale imitation of “Goldfinger” were it not for Jones’s imposing vocal presence and impressive conviction (Jones reportedly fainted while performing the song’s final note). “We got nothing/But nothing’s good enough for the dropouts,” Miller sings on “The Dropouts,” which might well serve as a decent rallying cry for casualties of the Covid economy. Sal Cinquemani, 20 Y.O. There’s even a cheeky nod to one of the group’s few other still-active contemporaries, the Bottle Rockets, in the form of a honky-tonk shit-kicker titled “Bottle Rocket Baby.”. They don’t seem one bit ashamed of it, armed with the standard two guitars, bass, and drums, and still playing the same sort of semi-twangy barroom rock songs about drinking, women, the road, and drinking with women on the road. Use arrows to rank one item in Best Old 97's Songs vs another. Rowin, Synth-heavy and melodramatic, “A View to Kill” is the most deliciously ‘80s Bond theme. Janet’s infamous wardrobe malfunction is commonly cited for her career’s precipitous decline, but her inability to evolve beyond her sex kitten persona is more judiciously to blame. Old 97's - A State of Texas Big Orange Studios (Austin, TX), 12/21/2010. Even if Springsteen has employed them sparingly in the studio in recent years, the band remains a tight outfit from frequent touring. At least, that is, for the duration of side one, where singer-songwriters René & Angela (best known for their steamy funk workout “I’ll Be Good”) serve Janet with three equally perky-cute dance-pop ditties, and one halfway decent ballad. From 1977’s thoroughly dull The Spy Who Loved Me, Carly Simon’s “Nobody Does It Better” slots firmly into the latter category, as the low-key singer shows no interest in delivering the jolts or theatrics of the franchise, and a perfunctory mention of a spy in the lyrics comes off as a contractual obligation. Kristi’s imaginative songwriting brings levity to Fake It Flowers. While these things fade, her art doesn’t. Springsteen deserves credit for resisting the crowd-pleasing tug of this kind of album for so long that it feels like a warm homecoming rather than a retread. “Track 6” and “Universe” find him duetting effortlessly with Anderson .Paak and Kehlani, respectively, and “Lift Me Up” (featuring Young Thug and Future) and “Your Turn” (featuring 6lack, Musiq Soulchild, and Tish Hyman) play as expressive collages of their guests’ skills, which are amplified by Griffin’s own swagger and confidence. Beabadoobee’s debut LP, Fake It Flowers, inhabits nostalgia like a childhood bedroom cluttered with toys, outgrown clothing, and wall posters that serve as relics of innocence and fantasy. Genres: Alt-Country, Country Rock. On much of the rest of the album, this tonal bifurcation leans too far in one direction or the other. The music video for “Positions,” which was directed by Dave Myers, finds Ariana in the role of president, dressed in Jackie O-worthy duds and effortlessly juggling both affairs of state (with an all-female cabinet, natch) and business in the bedroom. on. Like many of his millennial pop contemporaries, Ty Dolla $ign, born Tyrone Griffin Jr., works loosely in the rap world, collapsing other genres into a mix of sounds tailored to his strengths, each strain recognizable enough to court a general audience. For all its contradictory pleasures, though, Featuring Ty Dolla $ign is absent of the sharp hooks and coherent vision of Griffin’s past albums, which, though they have a similar basic structure, are more thematically tied to locations (Southern California and a faraway island vacation spot). Getting Into Knives does bear the distinction of being perhaps the most electric guitar-dominated Mountain Goats album to date.
Disappointingly, though, the title track doesn’t hark back to the self-empowerment of Control, but rather the S&M of The Velvet Rope.
But on the North Carolina-based band’s 19th album, Getting Into Knives, their work manages to feel simultaneously overproduced and under-thought. Over 12 tracks, the singer-songwriter is haunted by older versions of herself and captivated by wishful daydreams.
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