Written By:

article by: Michael Canter

30 April 2012

The Monday Mix - Oklahoma Is Ok

I've been traveling for the past week or so, still am in fact, and that means that today's Monday Mix blog will be a little less sexy than previous editions. So, I added that picture of The Wanton Looks to spice things up a bit.

I'll be back home tonight, so I will update this entry then, including the weekly sections for NEW FACEBOOK FRIENDS and VIDEO OF THE DAY along with whatever thoughts are floating around in my head at the time.


I do want to take this time to say thank you to everybody involved with the Norman Music Festival, from the cab drivers and the hotel staff at NCED to the wonderful and generously accommodating staff, all of the wonderful venues and stages, and especially to all the performers. In a word - WOW. I will be reviewing the entire festival tomorrow. Same bat time. Same bat channel.

Specific thanks go to the team behind NMF5, Steven White, Jen Teagarden, Kyla McMoran and all their staff and volunteers; Jonathon Fowler of Fowler Volkswagen; Lacey Lett of Fox-TV's Great Day Green Country; Abby Kurin, Jill Simpson and all the amazing people involved with The Buffalo Lounge and the Oklahoma Film & Music Office;  Ryan Lacroix & Grace Gordon of The Oklahoma Rock Show on The Spy FMBrian Horton of Horton Records, Ryan Lindsey of Broncho, Cody Clinton, Desirae Roses, Paul Buchanan, Jesse Aycock, Wink Burcham, Beau Roberson, David Broyles, Rob Crissinger (who initially introduced Jivewired to Larry White), and yes, a ton of thanks and eternal gratitude to Mr. Larry White who introduced me to everybody all weekend and really championed on behalf of Jivewired.com - THANK YOU!

It was also great to meet Wayne Coyne and his wife Michelle. Yes, sometimes I get to be a fan, too.

I had so much fun, in fact, I absolutely cannot wait until Norman Music Fest 6, and I am hoping Jivewired will be a part of next year's event in some capacity.

There is no best way to say thank you to Norman Music Fest for so much stunning wonderfulness. But I am honored, and humbled to have been included in a weekend that was both surreal and ridiculously fun

I have often pointed out that the subtag for Jivewired.com is Friends. Music. Life. - with "Friends" being the most important part of the entire equation.  This past weekend in Norman did everything possible to prove that.  Thank you, everybody. 


I am going to get a little serious here and ask that you check out To Write Love On Her Arms (TWLOHA).

Hope is Real. Help is Real. Your story is important.

Jivewired.com LLC supports To Write Love On Her Arms (TWLOHA,) a non-profit movement dedicated to presenting hope and finding help for people struggling with depression, addiction, self-injury and suicide.

Starting this month I am going to make a personal donation of $5 for every band that purchases a Jivewired Press Kit.  This is not a monthly promotion - this will go on as long year after year after year.

To Write Love on Her Arms began in Orlando, FL in February 2006 as a (written) story, the true story of five days spent with a friend who was denied entry into a drug treatment center. The story was a look at those five days, and the t-shirts were printed and sold initially as a way to pay for the friend's treatment. 

Beyond treatment, TWLOHA believes that community is essential, that people need other people, that we were never meant to do life alone. 

  • The vision is that community and hope and help would replace secrets and silence.  
  • The vision is people putting down guns and blades and bottles. 
  • The vision is that we can reduce the suicide rate in America and around the world.
  • The vision is that we would learn what it means to love our friends, and that we would love ourselves enough to get the help we need.
  • The vision is better endings. The vision is the restoration of broken families and broken relationships.
  • The vision is people finding life, finding freedom, finding love. 
  • The vision is graduation, a Super Bowl, a wedding, a child, a sunrise. 
  • The vision is people becoming incredible parents, people breaking cycles, making change.
  • The vision is the possibility that your best days are ahead.
  • The vision is the possibility that we're more loved than we'll ever know.
  • The vision is hope, and hope is real.

You are not alone, and this is not the end of your story.

You can Facebook Friend To Write Love On Her Arms at http://www.facebook.com/towriteloveonherarms and I urge you to do so.  

And if you can make a donation, every single dollar raised helps. 

If anything, buy a t-shirt.  They're pretty fancy, and there are a number of cool designs.  

Here's living proof:

(Wayne Coyne of Flaming Lips with Jivewired CEO and TWLOHA Supporter Michael Canter)

For even more information, go to http://twloha.com


The Monday Mix airs from 12:30PM to 5:00PM CDT each Monday and is designed to help you get through that brutal after-lunch, energy-sucking span that kicks off every work week. This particular show will be a mix of old, deep album cuts and new indie music with a lot of genre crossover. No Adele. Sorry.

What else does The Monday Mix do? Well, it helps you discover new indie music by combining some really great under the radar tracks with more established songs that were, once in fact, under the radar as well. The hope here is that the culture shock of discovering your next favorite band won't be so enormously imposing if we surround the new stuff with some of your old, familiar friends.

Jivewired supports independent musicians by paying royalties for airplay on Jivewired Radio. Please help us support indie artists by listening to our station and by purchasing indie music. Thank you.

The links on the radio player will give you download options if you really dig on the music and some of the songs are offered for free.

To listen, just press play on the radio widget to the right or use this link to open in a new window that will allow you to listen when you navigate away from this page:

Launch Jivewired Radio


001. Hipster Kids/Sexy Beards by Dr. Pants
002. Bear by Grace Woodroofe
003. Sunglasses by Crown Imperial
004. Dog Days Comin' by Desi & Cody
005. Our Day Will Come by Amy Winehouse
006. Look The Other Way by Justin Townes Earle
007. Hold On by Alabama Shakes

008. Black Tiles by Wild Flag
009. 86 Me by The Wanton Looks
010. Noc-A-Homa by Black Lips
011. Record Store by Broncho
012. Feeding Line by Boy & Bear
013. Forty-Eight by The Paul Benjamin Band
014. Miss K. by Deer Tick
015. Gettin' Tired by Shannon Labrie
016. Gon' To Lay You Down by Wink Burcham
017. Without You by Jesse Aycock
018. Jilted by The Puppini Sisters
019. In Sleep [Live] by Lissie
020. Fuel [Live] by Ani DiFranco
021. God Put A Smile On Your Face [Live] by Coldplay
022. Already In Love by Exene Cervenka
023. Black Candles by Crooked Fingers
024. Elevator by Crown Imperial
025. One Of These Days by Foo Fighters
026. Roll Like A Big Wheel by Joan Osborne
027. Little Talks by Of Monsters & Men
028. Land Of Hope & Dreams by Bruce Springsteen
029. In The Dead Of Summer by Desi & Cody
030. Cease & Persist by El Ten Eleven
031. So American by Portugal. The Man
032. Balnce by Future Islands
033. Only For You by Heartless Bastards
034. Soul Meets Body by Death Cab For Cutie
035. Still Yours by Markeisha Ensley
036. Be Careful What You Ask by Phillip Zoellner Band
037. Smile by Lily Allen
038. The Sun Ain't Shining No More by The Asteroids Galaxy Tour
039. Orange Blossoms by JJ Grey & Mofro
040. Sometimes by Jesse Aycock
041. Just Say When by Brandon McHose
042. Traitor by OK Sweetheart
043. You Can Keep 'Em by Ali Harter
044. Bottled Up In Cork by Ted Leo & The Pharmacists
045. Burning For Love by Vandevander
046. I Got Some Devil by The Paul Benjamin Band
047. Until You Remember by The Tedeschi-Trucks Band
048. Sure Thing by St. Germain
049. Protocol by Gift Of Gab
050. QueenS by THEESatisfaction
051. King Without A Crown [Live] by Matisyahu
052. Somebody That I Used To Know by Gotye [feat. Kimbra]
053. Come Visit Me by The Rosebuds
054. I Feel That Too by Jesse Baylin
055. La Grande by Laura Gibson
056. Hours by Tycho
057. A Warm Breeze by Thee Oh Sees
058. My Mind Is Ramblin' by The Black Keys
059. Little Lilly by Widespread Panic
060. Beachside by Kings Of Leon
061. Sex On The Regular by Miniature Tigers
062. Barton Hollow by The Civil Wars
063. Oh So Blue by Beau Roberson of Pilgrim
064. Palm Trees & Trailer Parks by The Dustin Pittsley Band
065. Fall Fast by Sage Flower
066. Soft by Washed Out
067. Serpents by Sharon Van Etten
068. Old Fashioned Morphine by Jolie Holland


Orange Blossoms by JJ Grey & Mofro

HEY! If you made it this far into the article, I sincerely thank you. Just one more thing, if I may.

I have a new twitter account that is less Jivewired and well.... more me, and I'd like you to follow. Mention that you read the blog as well and I'll send you something really groovy. Follow me on twitter: @JivewiredCEO -- I'll even make it easy for you, here is a direct link -- @JivewiredCEO - I'm not sure but I think all you have to do is click on that underlined thingy and it will teleport you directly to my twitter account. I love technology.

25 April 2012

Friday Flashback 1982

FRIDAY FLASHBACK: Every Friday we set the Hot Tub Time Machine to one year in rock history and give you the best (and worst) music from that year, all day long beginning at 1:00 AM EST and running for 24 hours on Jivewired Radio powered by Live365.

This week: 1982
Next week: 1972

To listen, just press play on the radio widget to the right or use this link to open in a new window that will allow you to listen when you navigate away from this page:

Launch Jivewired Radio

Album art from 1982 - Click album cover to purchase at Amazon.com

1982 Album I Wish I Owned: The Name Of This Band Is by The Talking Heads
1982 Album I'd Give Back If I Could: Pornography by The Cure
1982 Nominee For Worst Album Cover Ever: Get Lucky by Loverboy
1982 Most Underrated Song: Johnny 99 by Bruce Springsteen
1982 Most Overrated Song: Tainted Love/Where Did Our Love Go by Soft Cell
1982 Most Memorable Song: Under Pressure by Queen & David Bowie
1982 Most Significant Song: Sexual Healing by Marvin Gaye
1982 Most Forgotten Song: Cool Night by Paul Davis
1982 Fan's Choice For Most Popular Song: Physical by Olivia Newton-John
1982 Album Of The Year: Nebraska by Bruce Springsteen
1982 Most Likely To Start A Party Song: Come On Eileen by Dexy's Midnight Runners
1982 Please Don't Play Anymore Song: Eye Of The Tiger by Survivor
1982 Song That I Like More than I Actually Should: Love Plus One by Haircut 100
Absolute Worst Song of 1982 That I Will Always Love: Hurt So Good by John Cougar
Overplayed In 1982: Journey
Not Played Enough In 1982: Missing Persons
1982 Song That I Tend to Leave on REPEAT: Belly Of The Whale by The Burning Sensations
1982 Album I Liked More Than I Thought I Would: Mirage by Fleetwood Mac
Greatest Single Chart Re-Entry from 1982: Psycho Killer by The Talking Heads (1977)
Best Cover Song Of 1982: I Go To Sleep by The Pretenders
An unheralded great album from 1982: The Nightfly by Donald Fagen
An unheralded great single from 1982: You Don't Want Me Anymore by Steel Breeze
Best Soundtrack of 1982: Valley Girl

Jivewired's Top Five Songs Of The Year
01. Should I Stay Or Should I Go? by The Clash
02. Jack & Diane by John Cougar
03. Every Little Thing She Does Is Magic by The Police
04. Come On Eileen by Dexy's Midnight Runners
05. Someday, Someway by Marshall Crenshaw

Jivewired's Top Five Six Albums Of The Year
01. 1999 by Prince
02. Spring Session M by Missing Persons
03. All The Best Cowboys Have Chinese Eyes by Pete Townshend
04. Nebraska by Bruce Springsteen
05. Business As Usual  by Men At Work
06. The Nightfly by Donald Fagen

1982 gave us MTV, which gave us a ton of new music we would have never heard had MTV not existed. The ├╝ber-cool video channel, which went on the air for the first time on August 1, 1981, was originally conceived as a made-for-TV radio station that employed video jocks (aka VJs) to introduce the music. It's five original VJs - Mark Goodman, Alan Hunter, Nina Blackwood, Martha Quinn and J.J. Jackson - quickly became celebrities in their own right.

What’s long been forgotten in the history of MTV’s meteoric rise in the music and television industry is that it wasn’t an immediate or even an overnight success by any means. In fact, MTV meandered its way to the top quite slowly.  The video music channel upstart used a completely grass-roots marketing strategy built upon word-of-mouth referrals and the deliberately paced turnover of commercial television networks to cable television networks nationwide. When MTV debuted, it was on a single cable system with only a few thousand subscribers in northern New Jersey. At the time, many of the nation’s largest cities were still without cable TV. MTV initially permeated the market in the smaller cities and suburbs, which in retrospect created a perfect marketplace and defined the demographics which exist to this very day for the cable system behemoth. 

As MTV grew in popularity, it had a profound impact on the music industry as well as on popular culture in general. Their grass-roots, demanding "I want my MTV" slogan was so inspiring it soon became embedded in public thought. Likewise, the concept of the VJ was popularized, the idea of a dedicated video-based outlet for music was introduced, and both artists and fans found a central location for music events, news, and promotion. By 1985, when Viacom bought MTV, the station was a worldwide phenomenon.

In 1982, because MTV was initially frowned upon by the record labels and had yet to achieve the clout which allowed it to hand-pick the music it wanted to air, look and sound mattered much less than availability when it came to airing videos for the upstart network. Consequently, its viewers became exposed to a large number of videos created overseas or locally underground, and MTV helped created a lot of crossover from 1981 as many publishers of less popular songs flooded the outlet with videos hoping to spur or renew fan interest.

The station also introduced a number of new genres to the mainstream. MTV became THE PLACE to discover new music, and lots of it. Revitalized by the general effervescence of MTV's initial popularity, London's thriving music scene was suddenly propelled into the limelight as well. It's new-romantic sound may have been London's most iconic event since the Mersey Beat era of 1958-1964. 

New romanticism concocted a calculated mixture of disco, swinging London new wave, retro-futurism, sexual decadence and punk irreverence. Many of the new-romantic bands that emerged during this time featured a post-punk sound that was accentuated by synthesized instrumentation and percussion. While artists such as Duran Duran, Alison Moyet and Soft Cell consciously synthesized rock and electronic elements, others, such as The Police, English Beat, Culture Club and Squeeze drew influences from R&B, soul, funk and reggae, though still employing synths and digitized sounds, albeit to a lesser extent.

This renaissance of pop music had many faces, and soon even the most traditional genres were revived by the residual effect of the synth-pop sound. Whether that was good for music or a period of negative creativity has been subject for debate and cross-examine, though none can deny that the effect was influentially encompassing. While Duran Duran initially achieved the greatest crossover success as a new wave act, acts both in the U.S. and abroad were soon to follow suit, as the new-romanticist movement was further delineated as the new wave. Newer bands such as The Cars, Men At Work and Missing Persons embraced the movement, and historically successful rock acts such as Rod Stewart, The Rolling Stones, Eric Clapton, Van Halen and Steve Miller began to add elements of synth-pop to their existing sound. None of these acts released anything considered classic or ground-breaking during the new wave era, arguably, and furthermore, said artists may not look back in fond recollection to 1982.

The emergence of MTV, and the proliferation of overseas music injected into the U.S. market by the fledgling network is evident in 1982's historical repository. After three years of lagging the market, sales of cassettes and albums increased dramatically in 1982, though record companies continued to suffer, in turn naming the blank cassette tape and home recording as the culprit. Still, a great majority of music sales before Michael Jackson's Thriller was released at the end of 1982 were new or unheard of British-based acts, leading some to define the year as "British Invasion II."

EPILOGUE: I'm sure some may wonder about the lack of Michael Jackson in this retrospective of 1982. Indeed, Thriller was released worldwide on December 1, 1982 but was without doubt THE cultural phenomenon of 1983, with nine of it's ten songs charting that year. We will delve further into that album and examine how Michael Jackson broke the MTV color barrier in 1983 when we profile that year next month.

Gone Too Soon:
  • Lightnin' Hopkins (January 30)
  • Thelonious Monk (February 17)
  • Murray The K (February 21)
  • John Belushi (March 5)
  • Randy Rhoads (March 19)
  • Lester Bangs (April 30)
  • Neil Bogart (May 8)
  • Joe Tex (August 13)
  • William Lloyd Webber (October 29)
  • Marty Robbins (December 8)

Tastes Like Chicken

While performing in Des Moines, IA, rock icon Ozzy Osbourne bit the head off a bat that was thrown onstage by a member of the concert audience.  It certainly didn't seem shocking to anyone in attendance that night.  In previous concerts, Osbourne has been known to throw pig intestines and cow livers into the audience.  You know, everyone needs a gimmick, just because it is so hard to please every single person in attendance who just might not like every song, right?

Anyway, back to the bat.....

Thinking it was a rubber toy, the self-proclaimed Prince of Darkness grabbed the animal and bit its head off. Ozzy had to be rushed to the hospital for rabies shots after the gig, but his legend as the ultimate rock 'n' roll wild man loomed larger than ever.  Not sure if there is any serum in bat blood that can make one certifiably crazy after ingestion.  They don't really test for that, I'm thinking.

A month later Osbourne was arrested for publicly urination at the Alamo Memorial in San Antonio, TX.  Crazy is as crazy does.

Just A Small-Town Girl, Livin' In A Lonely World

Has there been a song with more staying power than Don't Stop Believin' by Journey?  It has been popular in three separate generations, hitting #62 in 1981 (though it was released in December 1981 as a single,  July 1981 as part of the album Escape), #9 in 1982, #71 in 1998, #64 in 2005, #4 in 2008, #65 in 2009 and #67 in 2010.  A cover version by the cast of Glee hit #4 in Australia in 2009 and #4 in Ireland in 2010.

As of 2011 the song has sold 6,568,000 copies and has been downloaded 5,068,000 times.  The album has been certified 9x platinum, selling nearly ten million copies.  It is the top-selling track in iTunes history as of 2011 and was the 72nd most downloaded song in 2008 and the 87th most downloaded song in 2009. In September 2010 it broke the Top 20 in iTunes downloads for that month.

Those are jaw-dropping, mind-boggling numbers.  Almost everybody who owns a music player of some sort has a copy of Don't Stop Believin', and it still sells hundreds of thousands of downloads annually. Oddly enough, the album Escape held the top spot in Billboard's Hot 100 only once, for the first week of September 1981.

Don't You Want Me, Baby?

On April 30th, rock critic Lester Bangs died due to an overdose of Darvon, Valium and Nyquil.  Bangs gained notoriety in the music industry, initially for his record reviews, but more so because he was just as amazing interviewing rock icons as he was while being interviewed.

Bangs adopted a radical and critical style approach to rock journalism, summarized in this quote: "Well basically I just started out to lead [an interview] with the most insulting question I could think of. Because it seemed to me that the whole thing of interviewing as far as rock stars and that was just such a suck-up. It was groveling obeisance to people who weren't that special, really. It's just a guy, just another person, so what?"

More great quotes from Bangs:
  • ".....drunk kids just graduated from high school and taunt as high tension wires just straining out of their bucket seats champing at the bit, bursting up into summer like swimmers coming up from a dive to break the surface and shoot half out of the water and grin at the sun."
  •  "I think the whole reason pop music was invented in the first place was to vent sick emotions in a deceptively lulling form. They were literally explosive with all the pent up lust and fear and guilt and dread and hate and resentment and confusion.  And it gave a kind of anarchic power, which can still move us." 
  • "The main reason we listen to music in the first place is to hear passion expressed."
 In 1973, Jann Wenner fired Bangs from Rolling Stone Magazine for writing a particularly negative review of the band Canned Heat.  Subsequently, he moved to Detroit to edit and write for Creem Magazine.  After leaving Creem, he wrote for The Village Voice, Penthouse, Playboy and The New Musical Express. 

Bangs championed the music of Lou Reed, Iggy Pop, the Guess Who and the J. Geils Band.  At one point he even climbed onto the stage at a J. Geils Band concert, and typed a review of the event while on stage.

According to The Official Punk Rock Book Of Lists, when Bangs died of his overdose, he was listening to the album Dare by The Human League. 

Where Exactly Do You Put The Needle?

  • The first compact discs arrived in stores on October 1, 1982; first in Japan and then shortly after worldwide.  
  • The first CD to be manufactured was 1981's The Visitor by Abba. 
  • Billy Joel's album 52nd Street was the first album to be released on CD in the U.S. and followed the release of the Sony CDP-101 CD Player.   
  • Born In The U.S.A. by Bruce Springsteen was the first album to be simultaneously pressed as a CD, vinyl and cassette in the U.S.
  • Dire Straits' Brothers In Arms was the first album to sell one million copies in CD format.

Go Forth, For You Are The Future Of Rock & Roll........

The following bands were all formed in 1982: A-ha, Chumbawamba, Cinderella, Faith No More, Night Ranger, Nitzer Ebb, The Pogues, Primal Scream, Public Enemy, The Smiths and They Might Be Giants.  On the flip side, 1982 also gave us Everything But The Girl, Flesh For LuLu, Stryper, and Wet Wet Wet.

Playlist Adds For 1982 (by Release Date):

****Release dates are to the best of my knowledge and in most cases represent the release date of the album from which the single derived. In cases of singles and/or B-Side releases only, we use the official single release date for the A-Side.****

October 1981 (and earlier):
001. Girls On Film by Duran Duran
002. Stop Draggin' My Heart Around by Stevie Nicks & Tom Petty
003. Waiting On A Friend by The Rolling Stones
004. Little T & A by The Rolling Stones
005. Worried About You by The Rolling Stones
006. Heaven by The Rolling Stones
007. Leader Of The Band by Dan Fogelberg
008. Every Little Thing She Does Is Magic by The Police
009. Invisible Sun by The Police
010. Hungry For You by The Police
011. Trouble by Lindsey Buckingham
012. Leather & Lace by Stevie Nicks & Don Henley
013. Destination Unknown by Missing Persons
014. Walking In L.A. by Missing Persons
015. Mental Hopscotch by Missing Persons
016. Words by Missing Persons
017. Let's Groove by Earth Wind & Fire
018. Harden My Heart by Quarterflash
019. Dancing With Myself by Billy Idol
020. Centerfold by The J. Geils Band
021. Under Pressure by Queen & David Bowie
022. Waiting For A Girl Like You by Foreigner

November 1981:
023. Oh No by The Commodores
024. Physical by Olivia Newton-John
025. Shake It Up by The Cars
026. Young Turks by Rod Stewart
027. Who Can It Be Now? by Men At Work
028. Down Under by Men At Work
029. Cool Night by Paul Davis
030. '65 Love Affair by Paul Davis
031, 867-5309/Jenny by Tommy Tutone
032. Don't You Want Me by Human League

December 1981:
033. Don't Stop Believin' by Journey
034. Open Arms by Journey
035. Take It Easy On Me by The Little River Band
036. Working For The Weekend by Loverboy
037. I Go To Sleep by The Pretenders
038. Message Of Love by The Pretenders
039. That Girl by Stevie Wonder
040. Golden Brown by The Stranglers

January 1982:
041. We Got The Beat by The Go-Gos
042. Tainted Love/Where Did Our Love Go by Soft Cell
043. Kids In America by Kim Wilde
044. Do You Believe In Love? by Huey Lewis & The News
045. Town Called Malice by The Jam

February 1982:
046. Eyes Of A Stranger by Payolas
047. Edge Of Seventeen by Stevie Nicks
048. Jukebox (Don't Put Another Dime) by The Flirts
049. Voo Doo by Rachel Sweet
050. Senses Working Overtime by XTC
051. Love Plus One by Haircut 100
052. Favourite Shirts (Boy Meets Girl) by Haircut 100
053. Marina Men by The Valley Girls
054. In The Name Of Love by The Thompson Twins
055. Dweller On The Threshold [Live] by Van Morrison

March 1982:
056. Empty Garden (Hey Hey Johnny) by Elton John
057. Don't Talk To Strangers by Rick Springfield
058. She Blinded Me With Science by Thomas Dolby
059. Ebony & Ivory by Paul McCartney & Stevie Wonder
060. Angst In My Pants by Sparks
061. Only Time Will Tell by Asia
062. Sole Survivor by Asia
063. Belly Of The Whale by The Burning Sensations
064. Mickey by Toni Basil

April 1982:
065. Fantasy by Aldo Nova
066. Electric Avenue by Eddy Grant
067. Only The Lonely by The Motels
068. Africa by Toto
069. Rosanna by Toto
070. (Oh) Pretty Woman by Van Halen
071. Dancing In The Street by Van Halen
072. Always On My Mind by Willie Nelson
073. Someday Someway by Marshall Crenshaw

May 1982:
074. More Than This by Roxy Music
075. Avalon by Roxy Music
076. Let's Stick Together by Roxy Music
077. I Melt With You by Modern English
078. Black Coffee In Bed by Squeeze
079. Hungry Like The Wolf by Duran Duran
080. Rio by Duran Duran
081. Should I Stay Or Should I Go? by The Clash
082. Rock The Casbah by The Clash
083. The Look Of Love by ABC
084. Hot In The City by Billy Idol
085. Eye Of The Tiger by Survivor

June 1982:
086. Shakin' by Eddie Money
087. Runnin' Away by Eddie Money
088. Think I'm In Love by Eddie Money
089. No Control by Eddie Money
090. It Could Happen To You by Eddie Money
091. Sirius/Eye In The Sky by The Alan Parsons Project
092. Hold Me by Fleetwood Mac
093. Rock This Town by The Stray Cats
094. Stray Cat Strut by The Stray Cats
095. Face Dances Part Two by Pete Townshend
096. Slit Skirts by Pete Townshend
097. Abracadabra by The Steve Miller Band
098. You Don't Want Me Anymore by Steel Breeze
099. Caught Up In You by .38 Special
100. Southern Cross by Crosby Stills & Nash
101. Burning Down One Side by Robert Plant
102. Pledge Pin by Robert Plant
103. Worse Than Detroit by Robert Plant
104. Come On Eileen by Dexy's Midnight Runners

July 1982:
105. He Could Be The One by Josie Cotton
106. Love's Got A Line On You by Scandal
107. Goodbye To You by Scandal
108. Hurts So Good by John Cougar
109. Jack & Diane by John Cougar
110. Hand To Hold On To by John Cougar
111. Don't Tell Me You Love Me by Night Ranger
112. Sing Me Away by Night Ranger
113. You Can Do Magic by America
114. Somebody's Baby by Jackson Browne

August 1982:
115. Twilight Zone by Golden Earring
116. Steppin' Out by Joe Jackson
117. Save A Prayer by Duran Duran
118. Vacation by The Go-Gos
119. Don't Go by Yaz
120. Situation by Yaz
121. Carnival Of Sorts (Box Cars) by R.E.M.
122. Gardening At Night by R.E.M.

September 1982:
123. Allentown by Billy Joel
124. Shock The Monkey by Peter Gabriel
125. Pass The Dutchie by Musical Youth
126. Athena by The Who
127. Eminence Front by The Who
128. New World Man by Rush
129. Industrial Disease by Dire Straits
130. Atlantic City by Bruce Springsteen
131. Johnny 99 by Bruce Springsteen
132. Sexual Healing by Marvin Gaye

October 1982:
133. I Ran (So Far Away) by A Flock Of Seagulls
134. Space Age Love Song by A Flock Of Seagulls
135. Don't Change by INXS
136. 1999 by Prince
137. Little Red Corvette by Prince
138. Delirious by Prince
139. Let's Pretend We're Married by Prince
140. New Frontier by Donald Fagen
141. I.G.Y. by Donald Fagen

November 1982:
142. Private Eyes by Hall &Oates
143. I Can't Go For That by Hall & Oates
144. Maneater by Hall & Oates
145. Shadows Of The Night by Pat Benatar
146. Love In Store by Fleetwood Mac
147. Gypsy by Fleetwood Mac

December 1982:
148. Shame On the Moon by Bob Seger
149. Roll Me Away by Bob Seger
150. Mexican Radio by Wall Of Voodoo

Previous In This Series: Friday Flashback 1969

23 April 2012

The Monday Mix - So Now We Use Math To Help Us Discover New Music?

-- Liz Montgomery: Yes. Mr. President, you said that the Humphrey-Hawkins bill will cost a possible sixty billion dollars. But isn't it true that the jobs provided by the bill will create up to a hundred and fifty billion dollars in increased production -- using Walter Heller's figure that for every one percent unemployed, there is a resulting thirty-seven billion dollar loss in GNP. Now, at the present rate of taxation on GNP of thirty-nine percent, doesn't this come to about the same sixty billion dollars in increased revenue? 

-- President Gerald R. Ford: Uh, It was my understanding that there would be no math...

So many applications, so many ways to discover new music.  Pandora.  Splash.FM.  Last.FM.  iLike.   I ♥ Music.  Spotify.  iTunes Genius.  Blah, blah, blah, blah, blah...............

Are we really discovering new music through these applications? Because it seems to me that by using each and every one of those tools the closest I am coming to truly discovering new music is, in reality, simply discovering old music that I just never heard before.  At most. Let me go through my Facebook News Feed and see what kind of music has been posted overnight. I'll pick the last five.  Back in a second.
  • User 1 listened to My Own Prison by Creed (2002) via Spotify 
  • User 2 listened to Nighthawk Postcards by Tom Waits (1975) via Soundcloud
  • User 3 listened to Black Velvet by Alannah Miles (1988) via Last.FM
  • User 4 listened to Won't See You Again by Billionaire Boys Club (1993) via Soundcloud
  • User 5 listened to Old Fashioned Morphine by Jolie Holland (2002) via Spotify
OK - User 2 was me.  I love Nighthawks At The Diner by Tom Waits and when I find myself wide awake in the middle of the night that is my ultimate go to album.  I mean, 3:00 am to 6:00 am is the only time you can really, fully appreciate that album.  But I digress.

Let me make a point here.  I have a number of friends who are independent musicians and are trying to make a living producing music.  And you can find most of their music on any number of those services, which on the surface is nothing short of outstanding.  But when you delve a little deeper, you discover that many of their songs are not rated, rarely listened to, rarely downloaded, and consequently, not publicized to Facebook.

Their music doesn't go viral.  They don't get tens of listens let alone thousands or tens of thousands of listens. No thumbs up icons.  No ♥'s.  No love.

Blame algorithms.  Algorithms are used to tell us exactly what the music industry and the record labels think we want to hear. 

Yup, I always knew math classes would pay off, and when I try to explain this to students, that math applications provide real solutions to real life, they scoff at me like I was sent to Earth by the devil himself to make their adolescent lives a living Hell.

Math applications?  Algebra? In real life?  Yeah dude, whatever.

Algorithms assume things like this:
  • [User F] and [User U] interact quite a bit through various social applications, therefore if [User F] likes this music, [User U] must as well, and if both [users F and U] like this song, surely they will like the same music that complete strangers who have listened to this same song or this same artist or similar songs and similar artists also like.

Uh, it was my understanding that there would be no math.

The equations can be based on who you know, what you like, what it sounds like, what year it was released, what genre it falls under and apparently if Bob Lefsetz digs it on Spotify.

It's really just a cleverly calculated game of Six Degrees Of Separation with everything eventually leading to Bruce Springsteen, Mariah Carey, Michael Jackson, Christina Aguilera, the current record label flavor of the month and the song Hey Soul Sister by Train.

The masses determine what is popular, but not necessarily what is good.

Look, I don't expect everybody to listen to nothing but under the radar, hard to find, up-and-coming-but-maybe never-really-making-it independent music all the time.  But like yourselves, I am not going to whip out a slide rule and a couple of sheets of graph paper to calculate what kind of music I am going to dig on.  At some point we have to trust people who do listen to new music for a living, and more importantly, ourselves, to determine what is good and what isn't, and even more importantly, what we should purchase.

FM Radio used to be the last bastion of new music discovery.  And the record labels ruined that for us.  Then we got turned on to the internet to discover new music.  And then the labels took over again.  Pandora, Genius, Spotify.......you love those applications, right?   You are the major record labels' best customers.  There are three left, Sony, Warner and Universal, and they determine what is popular and what isn't, and those applications give them all of the demographic ammunition they need to force their music into the mainstream, whether you really like those artists or not.

Math applications?  To discover new music?  Yeah dude, whatever.


The Way Low Down is a Denver, Colorado based music project that was created in early 2009, and the band brings an interesting yet unconventional approach to old-time music. Not strictly bluegrass, the band adds a New Folk approach to their recordings, which are genuinely very good. We discovered The Way Down Low through a radio submission service and added some of their music into rotation this month.  As usual, use our recommendation to check them out and make a determination for yourselves.

OK, I am being far too nice - it's Monday dammit!

Look, we ask that you part with one precious Facebook like per week, and it's not like we put a gun to your head, so give it up for the Way Down Low, please and thank you.  Much better.

You can link to their Facebook page right here:  The Way Down Low on Facebook

Just like I ask every week, let them know Mike from Jivewired.com referred you.  That's how we make social networking work for all of us.  Pal.


The Monday Mix airs from 12:30PM to 5:00PM CDT each Monday and is designed to help you get through that brutal after-lunch, energy-sucking span that kicks off every work week. This particular show will be a mix of old, deep album cuts and new indie music with a lot of genre crossover. No Adele. Sorry.

What else does The Monday Mix do? Well, it helps you discover new indie music by combining some really great under the radar tracks with more established songs that were, once in fact, under the radar as well. The hope here is that the culture shock of discovering your next favorite band won't be so enormously imposing if we surround the new stuff with some of your old, familiar friends.

Jivewired supports independent musicians by paying royalties for airplay on Jivewired Radio. Please help us support indie artists by listening to our station and by purchasing indie music. Thank you.

The links on the radio player will give you download options if you really dig on the music and some of the songs are offered for free.

To listen, just press play on the radio widget to the right or use this link to open in a new window that will allow you to listen when you navigate away from this page:

Launch Jivewired Radio


001. Weekend by The Smith Westerns
002. Miss K. by Deer Tick
003. Without You by Jesse Aycock
004. Thirteen by Big Star
005. Saturday Nights by Hello Saferide
006. Gon' To Lay You Down by Wink Burcham
007. Orange Blossoms by JJ Grey & Mofro
008. Fall Fast by Sage Flower
009. Little Talks by Of Monsters & Men
010. Jaded by Maggi, Pierce and E.J.
011. Close To One by Barley Station
012. Storm by The Smiling Strangers
013. Somebody That I Used To Know by Gotye (feat. Kimbra)
014. In Sleep [Live] by Lissie
015. Look The Other Way by Justin Townes Earle
016. Record Store by Broncho
017. These Days by Foo Fighters
018. 86 Me by The Wanton Looks
019. Burning For Love by Vandevander
020. Parted Ways by Heartless Bastards
021. Traitor by OK Sweetheart
022. Sunglasses by Crown Imperial
023. Erie Canal by Bruce Springsteen
024. Best Day by Darius Lux
025. Gettin' Tired by Shannon Labrie
026. Coconut by Harry Nilsson
027. Along The Lines Of Love by Jared Lekites
028. Your Neighbor's Trampoline by Raina Rose
029. Still Yours by Markeisha Ensley
030. Protocol by Gift Of Gab
031. I'm Wild About You Baby by Lightnin' Hopkins
032. Too Much Barbecue [Live] by Big Twist & The Mellow Fellows
033. Forty-Eight by The Paul Benjamin Band
034. Drunk On The Moon by Tom Waits
035. Can't Let Go by Red Molly
036. Relator by Pete Yorn & Scarlett Johansson
037. Dog Days Comin' by Desi & Cody
038. Clean by Allison's Invention
039. Old Fashioned Morphine by Jolie Holland
040. Left With The Thought Of You by Clare Fader & The Vaudevillians
041. If I Go Crazy by The Way Low Down
042. Eighth Avenue by Hospitality
043. Hell Of A Season by The Black Keys
044. Always Home by Whirligig
045. Roll Like A Big Wheel by Joan Osborne
046. The Clap Hands Song by T-Bird & The Breaks
047. Oh So Blue by Paul Roberson of Pilgrim
048. Be Careful What You Ask by Philip Zoellner Band
049. So American by Portugal. The Man
050. Wildflower by Rachael Sage
051. 1,000 Springs by Heather O'Neill
052. I Kissed A Girl [Unplugged] by Katy Perry
053. Dear Avery by The Decemberists
054. Old Enough by Rickie Lee Jones (feat. Ben Harper)
055. High Shelf Booze by Eilen Jewell
056. Serpents by Sharon Van Etten
057. Take Your Medicine by The Quick & Easy Boys
058. The Sun Ain't Shining No More by The Asteroids Galaxy Tour
059. Shake It Out by Florence + The Machine
060. We've Created A Monster by The Outer Vibe
061. Bear by Grace Woodroofe
062. Jilted by The Puppini Sisters
063. Just Say When by Brandon McHose
064. Feeding Line by Boy & Bear
065. Already In Love by Exene Cervenka
066. Palm Trees & Trailer Parks by The Dustin Pittsley Band
067. If I Wanted Someone by Dawes
068. Clutching Stems by Ladybug Transistor
069. Little Lion Man [Live] by Mumford & Sons
070. Debra by Beck


The Sun Ain't Shining No More by The Asteroids Galaxy Tour

HEY! If you made it this far into the article, I sincerely thank you. Just one more thing, if I may.

I have a new twitter account that is less Jivewired and well.... more me, and I'd like you to follow. Mention that you read the blog as well and I'll send you something really groovy. Follow me on twitter: @JivewiredCEO -- I'll even make it easy for you, here is a direct link -- @JivewiredCEO - I'm not sure but I think all you have to do is click on that underlined thingy and it will teleport you directly to my twitter account. I love technology.

22 April 2012

CD Review - The Colony Presents: The New Tulsa Sound (Various Artists)

This is a unique collection. Truly.
~ Wilco

(Wink Burcham)

Release Date: 15-June-2010
Genre:  New Folk / Rock / Blues / Singer-Songwriter
Publisher: [c] 2010 Horton Records
Label: Horton Records.
Time: 01h 19m 03s
Review Date: 22-April-2012
Format: CD
Jivewired Press Kit: Not currently a Jivewired Member

Find it at:

Horton Records | iTunes | Amazon

Track Listing:

01. Palm Trees & Trailer Parks (featuring the Dustin Pittsley Band) 3:20
02. Forty-Eight (featuring The Paul Benjamin Band)  3:33
03. Dust Bowl (featuring Cecada) 3:57
04. Oh So Blue (featuring Beau Roberson of Pilgrim) 3:01
05. Irv (featuring Gogo Plumbay) 4:21
06. Ebeneezer (featuring The Panda Resistance) 5:40
07. Officer Down (featuring Refund Division) 4:44
08. Without You (featuring Jesse Aycock) 4:07
09. Gon' To Lay You Down (featuring Wink Burcham) 4:10
10. Always Home (featuring Whirligig) 6:28
11. Fall Fast (featuring Sage Flower) 3:56
12. Dog Days Comin' (featuring Cody Clinton and Desirae Roses) 2:43
13. Be Careful What You Ask For (featuring Phillip Zoellner Band) 3:57
14. Burning For Love (featuring Vandevander) 4:46
15. Image D93 (featuring Dead Sea Choir) 7:08
16. Forward Unto Dawn (featuring Stone Trio) 5:39
17. Live Again (featuring Travis Fite) 3:48
18. Bourbon & Lemonade (featuring Chris Lee Baker) 3:45


As stated in earlier reviews, I don't normally review record label compilation CDs because they are usually designated as "For Industry Use Only", intended or implied, and they serve that purpose well.  Record label compilations offer a decent sample size as to what's going on behind the scenes and for the most part, they are usually self-serving avenues with which to promote a variety of artists to increase record sales for each individual artist or favor peer notoriety.  There's nothing wrong with that from a listener's or consumer's standpoint.  Compilation CDs offer the best of all worlds, a way to discover a lot of new music without the tediousness of perusing mass quantities of individual music in a single sitting, and they are welcome additions to every record collection no matter your tastes.  But from a review standpoint it can be somewhat overwhelming.

That being said, when you come across a compilation with a lot of great music that eclectically spans a number of popular genres, one that's a true front-to-backer, it would be genuinely unfair not to put the word out.  Add to that the fact that on this compilation by Horton Records we are not just talking about one record label, but rather a magnificent sample of an entire region, and well, it is almost necessary to enlighten the masses.  On the strength of these first two paragraphs alone, you should just get the CD and start enjoying what's happening these days in Tulsa, OK, and in fact you can skip everything that comes next in this review in doing so.  But for those of you who need their morning juice before their breakfast, soldier on with me, as we take a look at this delicious compilation track-by-track.

  • P.S. - A front-to-backer is a personal description for an album with no burner-type throwaway songs, like Pearl Jam's "Ten" or Peter Gabriel's "So" , and is an expression that I picked up on my recent visit to Seattle.  Just so you know.

Strongest Songs:
(in no particular order as I am listening to this compilation in shuffle mode)
Bourbon & Lemonade by Chris Lee Baker, Forty-Eight by The Paul Benjamin Band, Be Careful What You Ask For by the Phillip Zoellner Band, Burning For Love by Vandevander,  Gon' To Lay You Down by Wink Burcham, Dog Days Comin' by Desi & Cody, Irv by Gogo Plumbay, Palm Trees & Trailer Parks by The Dustin Pittsley Band, Without You by Jesse Aycock and Oh So Blue by Paul Roberson of Pilgrim.

Okay - that's a lot of "strongest songs" and therefore, once again, well worth the price of admission.  Therefore I implore you, again, just go get it, download the digi-pak and if you want to continue on you can listen along with me.  Deal?  That makes it a virtual-world experience for both of us that you won't soon forget.

We can hardly wait for Volume 2.

Track 1 - Palm Trees & Trailer Parks by The Dustin Pittsley Band
I've met Dustin and on the surface he seems somewhat quiet and a bit reserved, so the big sound on Palm Trees & Trailer Parks was totally unexpected.  Pittsley's guitar solo is nearly nuclear, and it's that guitar that makes this song a repeat player.  There's also an ever-present funkified bassline that really juices up Palm Trees & Trailer Parks.  Pittsley is well on the way to national ubiquity if he keeps this up.

Track 2 - Forty-Eight by The Paul Benjamin Band
The wicked bass line opening is almost too much to take.  It's a perfect segue from the opening track on the CD so give credit to Brian Horton for an incendiary flow.  Forty-Eight is as funky, if not more so, as it's predecessor on the compilation and features tight instrumentation and perfect layering.  What a great, addictive arrangement.  One on the line, one on the hook -  it's a great start.

Track 3 - Dust Bowl by Cecada
A brooding, deeply dark track that manages to remain aurally beguiling.  There's traditional folk elements interspersed with an alt-country arrangement that can feel a little long at times but nonetheless a very good listen.  Fans of Son Volt and Uncle Tupelo will particularly like this song because it has a similar vibe.  Love the strings and the bridge.  You will too.  Three-for-three so far.

Track 4 - Oh So Blue by Beau Roberson of Pilgrim
I love this song, and I am telling you, there is something to be said about track order on a CD because if you listen to your favorite CDs, track #4 is almost always, without exception, one of the strongest tracks on every output.  The mood lifts and lightens here and Roberson's vocals are positively fierce.  What do I call this?  Maybe blues/folk is an apt description.  Vocals to the forefront, percussion and strings to the background, and again, an excellent bridge.  Roberson gets a little too strong vocally at times but I can forgive that because the song is so, so strong.  I bet it's great live.  A modern day, blistering bump-n-grind that I'm sure works as good horizontally as it does vertically and I'll leave it at that.

Track 5 - Irv by Gogo Plumbay
OK - I hear a tuba.  I think.  With a name like Gogo Plumbay you'd expect something eclectic and Gogo Plumbay doesn't disappoint.  There's elements of jazz, big brass and Latin infleunces layered against incendiary guitar and even more incendiary bass lines, and by the way, yes, that is a tuba.  The song drifts in many directions but Plumbay manages to contain it all perfectly into a nearly-stunning instrumental that oozes Miles Davis sexuality.  Irv goes great with a neat scotch and that tall, beautiful stranger checking you out from across the room. 

Track 6 - Ebeneezer by The Panda Resistance
Another instrumental and kudos on the segue from the previous track, once again.  Ebeneezer feels like soundtrack music, something you'd expect to hear as the credits roll after CSI: Miami or something.  Its definitely electronic in nature, and a distant descendant of late '80s Joe Satriani because of the added guitar.  What works is it's fight for the big crescendo in every measure and its mysteriously romantic vibe.  The song builds and builds and builds and, as mentioned,  incorporates above average guitar work into the mix to keep it fresh.  A song like this would probably never get radio airplay as it just doesn't fit any particular genre, maybe nu-jazz being it's closest, blood relative.  But it's still a wonderful listen, very summery with a perfect finish.

Track 7 - Officer Down by Refund Division
Officer Down fits in well with some of the more popular styles of music that get mainstream airplay these days, bands like Washed Out and M83 come to mind, because of the lush multi-layering and attention to fine detail within. As the song builds to its close it really hits the accelerator, packing the song with celestial synths and mounting strings, picking up the pace just enough to detract from its overall solemn feel and heartfelt storyline.

Track 8 - Without You by Jesse Aycock
Jesse's great and you need only one listen to Without You to collide with me head-to-head in full agreement.  Arguably the strongest track on this compilation, it features great pedal steel guitar and is a wonderful exercise in really good Americana songwriting.  Aycock adds great range vocally and a very polished arrangement, and the backing vocals are just beautiful.  I would think that had John Lennon ever ventured into the genre, you know, that Gram Parsons influenced roots rock, Without You or something very similar would have been the result.  It's that good.

Track 9 - Gon' To Lay You Down by Wink Burcham
Ahhh, Wink.  He'd probably never admit it, but behind the trucker hat, the overalls and the big bushy beard and shaggy hair, the man exudes cool in an unnoticeable, skewed-from-the-cool-norm sort of way.  His music does all the talking.  He's a storyteller, and his music tells really, really good stories.  Gon' To Lay You Down however is not so much a story as it is a slightly funky, blues and new folk masterpiece that grinds it out for three-plus minutes before the big finish kicks in.  There's a guitar lick at 3:29 right before that big finish that absolutely freezes the listener.  Simple, but knee-buckling. It's not flashy, but it's genuine and reliable and feels like home.  Just like Tulsa.

Track 10 - Always Home by Whirligig
Another great representation of the New Tulsa Sound in that it combines equal parts folk and rock with a little bit of down home country into a more than decent, aural amalgamation.   The guitar work transcends every other component of the song and the whole package settles in nicely behind. It's a good song without any true weakness, one of those songs that when you hear it you tell yourself that you should really listen to it more often.  It flies under the radar on this compilation but it really shouldn't.   Give it a few listens and it will certainly grow on you.

Track 11 - Fall Fast by Sage Flower
Sage Flower reminds me a little bit of Whitey Morgan and the 78's musically and lyrically.  There's true Americana in the songwriting and rebel alt-country in the structure of Fall Fast.  The lead guitar is the glue to the whole thing, and it is very good, even great a times, particularly in the bridge and on the fade.  That the guitar is its strength is not to insinuate that the rest of the track is weak by any means.  But play it loudly to absorb its intended effect and you'll see what I mean.

Track 12 - Dog Days Comin' by Desi & Cody
Dog Days Comin' features Cody Clinton with Desirae Roses on vocal accompaniment.  It's got a somewhat early British Invasion skiffle-like feel to it intertwined with an almost cosmic Americana arrangement that compares favorably to the Gram Parsons-Emmylou Harris sessions on GP and Grievous AngelDog Days Comin' finds the duo blending uptempo passion with detailed balance that portends to the ambitious vision that would eventually define the individuals as a legitimate duo musically.  The harmonies are impeccable and I imagine that after this recording there was this light bulb moment by all involved that screamed "damn, this REALLY works."  You can almost feel the smiles generated by the finished product.  Dog Days Comin' is a great song.

Track 13 - Be Careful What You Ask For by The Phillip Zoeller Band
Be Careful What You Ask For combines influences of Americana and true power pop into a wonderful, radio-ready portrait that is, plainly put, mesmerizing. It's Daughtry-like arrangement works well, and like most of the songs on this compilation, the guitar work on this track speaks volumes.  Speaking forthrightly, this song feels like its but a few inches from a major breakthrough.  That it's two years old means that's not likely to happen.  But for all intents and purposes it should. Call your local radio stations immediately.

Track 14 -  Burning For Love by Vandevander
A segue into the hardest rocking song on the compilation, you'll immediately be reminded of old school, mid-1970s Aerosmith, you know, when the band had enormous balls and made real American rock and roll music.  Burning For Love is loud and demands to be played loudly.  It's fiery, hard rocking guitars, impassioned vocals and driving back line will melt your audio system.  It's a truly great rock song and well worth the wait to get here all the way down on Track 14.  Seriously, Steven Tyler should listen to this so he can remember what it's like to be a visionary, musically speaking, rather than a mockery of himself.  Great song. Simply great.

Track 15 - Image D93 by Dead Sea Choir
Sliding somewhere between soft rock, new age and romantic pop, Image D93 is the type of song that expresses itself in deep and lush layering, utilizing as much of the production process as possible.  It's achingly and strikingly beautiful and a complete departure from anything else on this compilation.  Despite its complexity, it feels ultimately and genuinely human in that it can strike different chords and various emotions with the listener. If you like artsy bands like Destroyer and solemnly impassioned artists like Justin Vernon of Bon Iver, Dead Sea Choir will certainly appeal to your musical tastes.

Track 16 - Forward Unto Dawn by Stone Trio
Forward Unto Dawn is a trippy, jazz infused, down tempo instrumental with some serious percussive beats and ambient synths that is perfect for unwinding or perhaps soul searching.  By slightly picking up its measure mid-song, it works in much the same way as the human thought process, expounding on an idea almost to the point of getting ahead of itself, for example, before letting true intention control the pace.  Stone Trio does this several times throughout the song.  In that sense, it's alternately mood setting and mind altering music. 

Track 17 - Live Again by Travis Fite
Oozing in world beats and reggae rhythms, Travis Fite makes a bold statement in that I cannot imagine there are very many, similar sounding musical counterparts in the Tulsa area.  Like most music of this genre, it feels summery but with slight political/religious undertones.  What separates this song from typical reggae music is a driving, guitar-laced bridge that lays to waste the heavy bass structure of the rest of the song.  It's a slightly different take on the genre, and oddly appealing.

Track 18 -  Bourbon & Lemonade by Chris Lee Baker
Brian Horton closes The New Tulsa Sound compilation with a traditional, folk-inspired song by Chris Lee Baker.  Bourbon & Lemonade is a great hoedown of a song locked in its Vermontucky rhythmic and melodic structure and steeped in honest-to-goodness folk ambiance.  Its so traditional it may have been turn-of-the-century, western gold rush relevant or a hit among the Appalachian jug band family folk ensembles of the 1940s and 1950s had it been from either of those historical eras.  And that makes it work today because it honors its genre, traditions being what they are and all.

About The New Tulsa Sound and Horton Records:

For the love of music.  Pass it on.
Horton Records, LTD is a non-profit label based in Tulsa, OK. Our mission is to provide support and tools in terms of band management, promotion, booking, merchandising, and distribution in order to help local and regional musicians fulfill their artistic goals and further promote local and regional music on a broader scale.

Horton Records, LTD board:

President – Brian Horton Vice President – Brian Fontaine
Treasurer – Dylan Layton
Secretary – Christine Bizzell
Legal Consultant – Tomy McDonald

For more information or to make contributions to future projects, please check this page or contact: brian.horton@williams.com. Contributions can be tax deductible and will go towards recording, mixing, mastering, replicating, and distributing local and regional music, as well as help fund artist promotion and tours.

THE NEW TULSA SOUND is an amalgamation of styles and sounds that somehow works in a magical way with the common threads being quality musicianship and Tulsa.

The Colony presents: THE NEW TULSA SOUND is a compilation of established and emerging Tulsa artists. It's an amalgamation of styles and sounds that somehow works in a magical way with the common threads being quality musicianship, Tulsa, and The Colony.

The Colony is a live music venue sprinkled with history and lore that has created a platform for incubating new artists and fostering creative partnerships and artist combinations that continue to shape a unique sound. This compilation is a single snapshot in time of 18 artists that are submerged in this musical melting pot.

More to come....

CD Review - Late Night EP by Brandon McHose

“In Late Night EP McHose has evolved into an artist who is not afraid to combine what he knows with who he is becoming. His ability to shred and capture a more aggressive tone with this album has illustrated what he is trying to accomplish. Because he is able to maintain the attitude that he is a guitar player first even before being a singer and songwriter, attests to the passion he has for his craft. Brandon McHose is going to be an artist to watch.” 
~ Muzic Reviews

Release Date: 10-January-2012
Genre:  Rock / Acoustic Rock /Power Pop
Publisher: [c] 2012 Brandon McHose
Label: Brandon McHose
Time: 14m 04s
Review Date: 22-April-2012
Format: CD
Jivewired Press Kit:  http://jivewired.com/brandonmchose

Find it at:

Artist Website | iTunes | Amazon

Track Listing:

01. Late Night 3:06
02. Next 3 4:18
03. Leave It All 3:28
04. Just Say When 3:12


With a growing fan base, excellent live shows and a new EP that shows genuine promise, Chicago's Brandon McHose has carved a nice niche for himself as an emerging artist in the indie music world.  The strength of Late Night is the song Just Say When, a great acoustic rock number with a tight but spirited acoustic and jazz guitar coaction that really show's Brandon's expertise.  McHose has pumped up the muscle on this release, as the singer/songwriter has evolved from a sensitive, acoustic-country act into a more robust, all-around performer  by adding elements of rock, blues and power pop into the mix.  The Late Night EP is a tremendous leap forward for this up and coming artist.

Track 1 - Late NightLate Night has a classic late-night southern rock and blues feel to it, along the lines of something by Exile or Atlanta Rhythm Section, but this is neither pastiche or homage.  Immediately you'll notice great guitar work, which is definitely the strength of this song.  Vocally, McHose stays within his range and rarely pushes the envelope, but that's okay.  His vocals are more than adequate.  But, this is guitar-driven rock, and a statement that McHose is serious about leaving the sensitive singer/songwriter stereotype behind.  A great way to kick off an EP if you want to make a statement.  If you are a fan of the work by legendary blues guitarist Gary Moore you will definitely like this song quite a bit. 

Track 2 - Next 3Next 3 is the most pop-driven number on this EP, and features invigorating guitar solos and bridgework by McHose.  There's a soulful feel to the song and a lot of energy.  More alternative rock than country, Next 3 has a heavy power pop feel to it.  But again, it's the guitar work of McHose that does all the talking, and the closing guitar solo is definitely the best 90-seconds on the entire disc.  It's not just good, it's a devastatingly great guitar solo, one that inspires countless air guitarists in a live setting I'm sure.  That's the signature of any great power-pop song.

Track 3 - Leave It All:  Another classic rock type number, but not as strong as the other three songs on this EP.  It's a little too formulaic for my tastes and a tad repetitive lyrically.  But there are highlights and again, you guessed it, it is the solo guitar work of Brandon McHose.  There's a lot of percussion going on and a very heavy bass line, and the song gets a little busy at times.  Perhaps McHose wanted to give his band a chance to shine a little and that's okay.  Don't get me wrong, they're decent musicians, but there is just a little overkill here.  In summation, Leave It All could use a little more Brandon and a little less engagement from the supporting cast.  As a listener, I just kept waiting for McHose to erupt, and the fact that that eruption is slightly minimal (one, short guitar solo) generates a little disappointment.  The song is not bad by any means, I just think it could have been so much more.

Track 4: Just Say When:  This is the highlight of Late Night and my favorite song on the EP.  Just Say When follows the blueprint for the perfect summer song; that is, it paints a vivid picture of open windows, hazy L.A. sunsets and beachfront fire pits.  Just Say When most assuredly has a more intimate feeling than any of the other songs, and here McHose puts the entire pop/acoustic crossover package together in perfect unison.  Understated acoustic and jazz guitar play splendidly off each other, and McHose is strongest vocally here as well.  The song builds to a wonderful crescendo and fades out leaving you wanting much, much more - the hope that the closing guitar solo, which is stunningly masterful, could go on for a minute or two longer -- it's that good.  Just Say When already feels like a classic, and maybe, just maybe, provides enough warmth to make summer last all year long. 

About Brandon McHose:

Brandon McHose looks at the five dynamic years he spent on the scene in Austin as something of a “musical grad school” where he developed his chops as a singer, songwriter, guitarist and performer. High-tailing it back to his home region of the Midwest, the Des Moines native chose Chicago for a batch of exciting new career opportunities and never looked back.

Since hitting “The Big Windy” in 2010, the multi-talented artist has headlined at the Hard Rock Cafe, Double Door, Taste of River North Festival and the House of Blues Foundation Room, in addition to creating successful residencies for himself in neighborhood venues (like the Citizen Room) that had never had music before. While his sizzling guitar sound and powerhouse live performances have earned him hundreds of fans throughout the city, Chicago’s thriving indie music scene is also a springboard for McHose’s latest touring endeavors along the I-35 corridor, which stretches from Northern Minnesota through his home region of Central Iowa down to Southern Texas.

McHose launched his recording career with two well received acoustic based full length albums helmed by big name producers. Life Eclipse (2007) was produced by Chris Maresh, who currently plays with Eric Johnson; the set featured famed keyboardist Riley Osbourne, who once played with Stevie Ray Vaughan’s band Double Trouble. Token (2008) was produced by Michael Ramos, a onetime member of The BoDeans whose credits include John Mellencamp and Los Lonely Boys. These two indie releases set the stage for the explosive new, electric guitar driven sound he unveils on his new four track EP Late Night.  Two of the tracks are already impacting multiple radio formats; “Next 3” recently hit the Triple AAA format and the title track “Late Night” is in rotation on many college radio stations.

Combining the melodically infectious, lyrically insightful vibe of classic singer/songwriters (James Taylor, Bob Dylan, Paul Simon) with a Santana/Beck/Van Halen-like ability to shred, McHose has evolved into a multi-faceted artist in the tradition of his chief influences Mark Knopfler, Eric Clapton, Stephen Stills, Jimi Hendrix and—straight-from-his-country-phase Vince Gill and Brad Paisley.

McHose attributes the inspiration of the vibrant, high-energy, classic rock influenced “Late Night” — a chronicle of a well traveled rocker’s ups and downs on the road to two other legends: “I wanted it to be a combination of a cool Sublime song mixed with Tom Petty.”   The track features one of the singer’s favorite Austin drummers, Wayne Salzman, who has played with Eric Johnson and Steve Miller.

“Next 3” is another sizzling, electric guitar driven rocker, jangling along the road with featuring McHose’s soaring vocals as the singer reflects on the challenges of the past three years and looks forward to exciting, less stressful adventures in the future.

A straightforward, “getting over the negatives of the last relationship” tune, “Leave It All Behind” adds a bed of dense percussion to the hard rocking mix and includes one of McHose’s most passionate electric solo spots.

The closing track “Just Say When” combines the best of both of the singer/guitarist’s worlds; it’s a mid-tempo ballad driven by the acoustic sound that defined his earlier songs but includes a cool, subtle electric guitar harmony line and a powerful solo that has what he calls “a Larry Carlton/Skunk Baxter” flavor towards the end of the track.

“The producers I worked with on my first two albums liked my sound,” McHose says, “because they thought I had a unique style on acoustic guitar that was not bland and typical of most singer/songwriters.  Acoustic was the right niche for me for a while, but I’ve gotten a lot stronger vocally over the past few years and that has made my voice more compatible with songs with electric guitar. A lot of my earlier songs could have been stronger had I taken that approach. All along, I wanted to transcend being pigeonholed as yet another acoustic based singer. The idea behind the four tracks on Late Night was to showcase my work on the electric and emerge with a whole different aggressive tone, with a lot of rough edges compared to my older material. For most singer/songwriters, the guitar is a secondary tool to enhance their songs. I like to think of myself as a guitar player first — but one who is lucky enough to be able to use it in the context of writing strong songs that connect emotionally with listeners.”

Growing up in Des Moines, Iowa, Brandon McHose was introduced to the guitar by his father, once an aspiring guitarist himself. That’s a common story, a parent sharing passion with a child, but the guitar McHose his dad used to teach him, a '74 Les Paul, makes the history just a bit more extraordinary. His father’s eclectic music collection introduced the young musician to legends like The Beatles, Stones and The Who, but McHose says the reason he began playing more seriously was the solo he saw Joe Walsh do on VH1, in a clip from when he was with The Eagles. He went through a lot of “guitar god” phases — Hendrix, Stills, Knopfler, Atkins, Gill, Paisley — all the while gravitating towards great singer/songwriters like Sting and 90s rockers like Matchbox 20, Goo Goo Dolls, Foo Fighters and Red Hot Chili Peppers.

McHose’s equal passion and skill in track and field earned him a full scholarship to Drake University, but he left after one year to ponder his musical future. His family sought professional advice by meeting with the Assistant Chair of the Guitar Department at the famed Berklee School of Music in Boston. After McHose auditioned, the professor’s professional opinion was that his skill and talent levels were far beyond that of a typical student; he recommended that the best road for him was not four years in college but to embark immediately on his career.

McHose took this advice and chose Austin, Texas as the perfect environment to hone his craft. While making the connections necessary to launch his recording career, he worked his way up to playing live four nights a week, performing at such venues as The Saxon Pub and Threadgill’s.

“It’s easy to get comfortable in Austin, but there’s also the feeling that you can get to a certain plateau and stay there,” he says. “Since it’s a college town, a lot of the fans artists make eventually move away, so it’s hard to develop a consistent career. I felt that moving to a major market like Chicago would be a great step forward, not only because of the many opportunities to perform in the city and surrounding area, but also because it’s centrally located, close to my hometown of Des Moines and a great centrally located base to tour from."

“That’s really where the excitement happens,” McHose adds, “up there onstage. I love feeling the energy from the crowd and trying new things with the songs and with my guitar every night. I never play written solos and I like to try different spontaneous arrangements and segues into songs. I have done hundreds of acoustic gigs, and don’t mind mixing it up, but I have the most fun now playing live with my band. I can pull out my electric and really let loose.”

21 April 2012

CD Review - Star Map by Jared Lekites

"Melody, deep harmonies, hooks? I can't get enough of them in this computer-dominated music hell perpetrated by the remnants of a mortally wounded music industry (thank the gods that music does not need a corporate structure to survive). No fancy gimmicks here. No videos with images that flash by so fast they want to make you want to stick a fork in your eye. This is music stripped down to what Lekites hears--- what Lekites wants."
~ Frank O. Gutch Jr., Rock & Reprise

Release Date: 02-March-2012
Genre:  Folk / Retro Rock / Indie Alternative
Publisher: [c] 2012 Jared Lekites
Label: Lekites Music, Inc.
Time: 35m 30s
Review Date: 21-April-2012
Format: CD
Jivewired Press Kit: http://jivewired.com/jaredlekites

Find it at:

Bandcamp | CD Baby | Soundclick

Track Listing:

01. Too Far Gone 3:28
02. Star Map  3:16
03. Nepenthe (When She's Down)  3:52
04. Along The Lines Of Love  5:07
05. If You Ain't Lonely  2:18
06. For Lack Of A Better Heart  3:46
07. Rainy Day  3:02
08. Girl, Don't Tell Me  2:27
09. Don't Leave Me Now  2:38
10. Star Map Part Two  3:28
11. Bought & Sold  2:28


Jared Lekites is a fan of retro rock, namely bands like the Beatles and the Beach Boys and artists like Harry Nilsson and probably Van Morrison during his years with Them as well.  And it shows in his music, particularly the music on this disc.  Lekites takes a dramatic leap forward with his sophomore release.  I mean no disrespect toward his 2010 release Looking For Diamonds, which I reviewed last year.  But rather,  Lekites has perfected his craft here, pop influenced indie folk that leans heavily on a strong pretense of irresistible harmonies that embraces its eclectic semblance.

Here's what I wrote regarding Looking For Diamonds:

-- To summarize, "Looking For Diamonds" is a great record, a fantastic record in fact and a fortuitous find. Jared Lekites offers a recording that is openly honest, reverent and wonderfully constructed; a measured, beautifully crafted album that signals an exciting debut. The pop moments are near perfect, and the focus on sweeping harmonies and blanketing melodies makes "Looking For Diamonds" an extremely enjoyable listen throughout. (31 January 2011)

Star Map is even better.

Lekites has certainly perfected the 1960s California retro-pop sound.   Star Map is a lesson in poignant and majestic melodies which makes for a quick listen.  That is to say, there is nothing on this CD that weighs it down.  Even Along The Lines Of Love, which clocks in at over five minutes, comes nowhere near the over-extended-my-stay stage.  Frankly, it's the best song on this disc, and Lekites avoids redundant chorus structure and the ever-repetitive fade out, common mistakes among other artists who attempt to pen pop standards that exceed the industry-standard 3m 30s time frame for this genre.  In my opinion, Lekites is Brian Wilson light, or maybe even Brian Wilson incarnate, at least as far as style and substance is concerned, if not song writing ability, and this song best exemplifies that revelation.  I know that's a strong declaration.  Lekites lives up to that promise.

But that by no means is the whole story.  

The Beach Boys homage continues on the title track, including a wonderful tribute to the classic All Summer Long in the first few measures and throughout, as well as the backing harmonies in the chorus. The buoyant ambiance of Rainy Day encapsulates that sound as well, dispatching enchanting guitar work and effortless vocals that float lazily aloft, always catching that middle ground between heartfelt and playful.   The song features David Broyles of Dr. Pants on guitar and in fact, best depicts the airy motif of the entire album.  Too Far Gone, likely the lead single on Star Map, features back up vocals by K.C. Clifford, and is similarly charming. It certainly sets the mood for the entire disc in pleasantly pop-addictive fashion.

One of the songs I particularly enjoyed is If You Ain't Lonely, a throwback of sorts to Them, the short-lived outfit that was led by Van Morrison from 1964-1966.  If You Ain't Lonely has more of an R&B influenced rock flavor and a strong bass line that differentiates it from the other numbers on this album.   The harmonies and back up vocals are extremely tight, which puts Lekites' signature stamp on the track.  In a like manner, at least as far as change of direction, Bought & Sold is a strong effort that is more along the lines of a singer/songwriter type song that I believe is a direct tribute to Harry Nilsson.  Maybe I am influenced by the fact that I know Jared Lekites is a big fan of Nilsson, or the fact that I just watched Who Is Harry Nilsson (And Why Is Everybody Talking About Him) --  not sure, but the imagery in Bought & Sold is certainly there, particularly if you know Harry Nilsson's story.

Star Map is an album, more than a mere collection of songs.  In whichever way each song reaches its ultimate goal, it never fails to achieve that mission. In my words, and possibly Jared's as well, that goal may be to thrill the listener with wonderfully crafted and stoically unpretentious vignettes of beguiling retro influenced pop and folk. The production is noteworthy, with engineering credits going to Laurie Biagiani and David Broyles as well as Jared himself.  The richly textured arrangements on Star Map create lush and shimmering songs that take Jared Lekites to the next level.

But while the production is indeed significant, Star Map would be nothing without its songs, which evoke a poignant but ever-mindful pop edge and sensibility that ensures enduring accessibility.  Star Map is a neat, considerate and polished piece of work that is unrelenting in its charming appeal.

About Jared Lekites: 

Jared Lekites is a singer/songwriter from Southern California by way of New England. Now based in Oklahoma, his sound is heavily inspired by the revolutionary music of the 1960s, much of his influence is evident in his sound which hearkens back to the more simple, bygone days of analog tapes and authentic instrumentation.

His first independent release, 2010's 'Looking For Diamonds', was met with critical acclaim along with comparisons to his idols The Beatles and Brian Wilson being delivered from both sides of the Atlantic.

"Recalls Brian Wilson'
s solo work, as it's both anthemic and melodic..."
-Aaron Kuperferg, Absolute Powerpop

"Although his style is the familiar retro strums and harmonies, it's all well written and constructed... This EP fits in your playlist like a comfortable pair of jeans. Fans of The Beatles, Hollies, Beach Boys and James Taylor will surely love it..."

"Listen to one song by Jared Lekites, and immediately you know there’s something different about him..."
-Lindsey Whelchel, Edmond Outlook

"Melody, deep harmonies, hooks? I can't get enough of them in this computer-dominated music hell perpetrated by the remnants of a mortally wounded music industry (thank the gods that music does not need a corporate structure to survive). No fancy gimmicks here. No videos with images that flash by so fast they want to make you want to stick a fork in your eye. This is music stripped down to what Lekites hears--- what Lekites wants."
-Frank O. Gutch Jr., Rock & Reprise

"His EP is an incredible, beautiful Brian Wilson-esque burst of creativity. Go get it."
-David Broyles, The Mixtape Jones Radio Show

"Within five seconds you will completely immerse yourself in this song and thereupon acknowledge the Brian Wilson comparisons. In a complimentary way (and probably unfair to Jared), after listening, I had to resist an insurmountable urge to switch over to the Beach Boys' "Pet Sounds" on my iTunes..."
-Michael Canter, JiveWired.com

"The musician wrote all the songs and plays all the instruments on his new EP Looking For Diamonds. Let me tell you, he certainly found a few."
-Snob's Music

CD Review - Dog Days Comin'/In The Dead Of Summer by Desi and Cody

"This is what it might have sounded like if June Carter and Johnny Cash had made a studio album with The Beatles. The music is an eclectic blend of folk, rock, and country with just enough pop familiarity to bring anyone along for the ride."
~ Brian Horton

Release Date: 09-December-2011
Genre: New Folk / Bluegrass / Indie Rock
Publisher: [c] 2011 Desi and Cody/White Mountain Music
Label: Horton Records
Time: 37m 28s
Review Date: 21-April-2012
Format: CD
Jivewired Press Kit: http://jivewired.com/desiandcody

Find it at:

Artist Website | Horton Records | iTunes

Track Listing (Dog Days Comin'):

01. Dog Days Comin'  (feat. Desirae Roses) 2:43
02. Black Clad Girl 3:59
03. Lipstick and a Gun 3:15
04. The Call (feat. Desirae Roses) 3:32
05. Who Are You Trying To Fool? 4:33

Track Listing (In The Dead Of Summer):

01. In The Dead Of Summer 4:08
02. Western Medicine Lullaby 2:56
03. Whiskey Under the Wine 3:44
04. Fable 3:03
05. Get So Lonely 4:04
06. Oh Baby 1 1:31


Though this review covers two distinct releases, for all intents and purposes we'll call the entire two-disc package a collaborative effort by Cody Clinton and Desirae Roses.  Said package is a wonderful amalgamation of new-folk music with touches of blues, bluegrass, alt-country and indie rock that will easily captivate you, and beneath the covers you'll find the slightest hint of pop and classic rock influences.   Herein you'll discover a veritable treasure of wonderful music that features pitch-perfect harmonies embedded in sublime arrangements with nary a weak track.

The title track on Dog Days Comin' features Desi on vocal accompaniment.  It's got a somewhat early British Invasion skiffle-like feel to it intertwined with an almost cosmic Americana arrangement that compares favorably to the Gram Parsons-Emmylou Harris sessions on GP and Grievous AngelDog Days Comin' finds the duo blending uptempo passion with detailed balance that portends to the ambitious vision that would eventually define the individuals as a legitimate duo musically.  The harmonies are impeccable and I imagine that after this recording there was this light bulb moment by all involved that screamed "damn, this REALLY works."  You can almost feel the smiles generated by the finished product.  Dog Days Comin' is a great song.

The rest of the album paints a somewhat darker, brooding portrait that leans heavily on a more traditional blues and classic country-rock foundation.  Lipstick and a Gun has a flat-out, stone cold desperado vibe that's a step back in time.  Low energy bass lines and understated percussion give way to a hypnotic arrangement laced in paced, seething guitar and aching vocals.  Lipstick and a Gun offers a complete classic rock feel that hooks on the opening five measures and bubbles, simmers and burns going forward.

Black Clad Girl is another standout song with a country-rock feel that allows Cody to showcase his proficiency on both steel guitar and mandolin.  This is easily my favorite song on the Dog Days Comin' EP and is Cody's strongest effort vocally.  He hits his low register without force or break and he nails his high register in similarly effortless fashion, demonstrating an unexpected wider range in comparison with the other songs on the disc.  It's a fine example of the strengths of the entire disc: pristine arrangements, excellent sound quality and precise musicianship.  The entire package is knee-buckling good.

It doesn't take long to get addicted to Desi & Cody's song In The Dead Of Summer.  In fact, you'll be hooked before the end of your first listen.  I was.

The title track to the couple's second release brings Desi to the forefront vocally and offers a more uptempo sound as compared to Cody's earlier release.  But what really makes In The Dead Of Summer so amazing is an almost sinful blues/rock bridge that starts at 1m 50s in. The duo basically slams on the brakes and Cody pounces to the forefront musically.  Cody's guitar marinates in a roux of harmonica/Hammond B3 interplay that is simply white hot.  That bridge is what our grandparents called sinner's music and it's a fine example in the finest sense of the definition.  Add Desi's torrid vocals to the mix and you're simply cooked.  Go to confessional after listening if you must, but listen again and again.

Western Medicine Lullaby offers another example of Desi's consummate vocal ability and the result is an immaculately crafted folk-pop song.  Here the duo constructs an indelible pop offering on a foundation of calculated, but slight tempo changes, diverse layering, magical hooks and glistening instrumentation that shows an astute maturity and range.  Desi's pitch-perfect vocals and range are resplendent.  Western Medicine Lullaby is a sunny, stunningly warm effort that raises the bar ridiculously high for folk-driven indie pop.

Like almost everything else on this two-disc collaboration, Whiskey Under The Wine is dangerously addictive as well.  It's easy to say that when impeccable production matches similarly exquisite talent then the result is obvious, so there's that.  Desi and Cody are resolute in musical familiarity but subtle nuances throughout both discs keep things fresh.  This song is a fine example.  Adding steel guitar and other musical accoutrements into it's fabric, as well as accompanying vocals from Cody, coalesces Whiskey Under The Wine into one beautiful, melodic drive. 

In fact, as a whole, the entire collaboration is almost too damn intoxicating.  There's enough diversity between the two discs to keep the listening experience fresh.  As I stated earlier, the precise  production and inimitable sound quality makes the entire package of Dog Days Comin' and In The Dead Of Summer nearly peerless, but it is the talent of Desi and Cody that is the strength of the duo's output. The two maintain baroque and eclectic artistic values which lead each song's arrangement.  Nothing is presented in pedestrian fashion and there are no burner or filler songs designated to fill space.  What you get between both releases is just under 40 minutes of very, very good music.

About Desi and Cody:

The Tulsa duo Desi and Cody combine folk-inspired bluegrass melodies with a rock based sound, creating one-of-a-kind music that leaves you wanting more.

Cody Clinton set out to make a solo album after his band, Cody Clinton and The Bishops had gone on hiatus due to the fact that Bishops guitarist Beau Charron was hired to tour with the legendary Leon Russell Band.  Cody was looking to leave behind the quasi-commercial power-pop sound he had pursued with the Bishops.  Instead he sought to show a darker side of his musical self, to explore a more obscure valley of folk that he had always meant to venture into but perhaps wasn't ready until he was put into the position of the solo artist.  Knowing he needed something to complement his raw and sometimes ragged vocals, he called on Portland native Desirae Roses to sing harmony on two of the songs on his debut Solo EP Dog Days Comin'.

Desirae Roses, who had up to this point never sang professionally, has a smoky sultry voice wrapped in a dark cloud of honesty.  Combining the sexier side of female jazz vocals with the funner side of classic country, Desi's voice has a pied piper quality that is intensely captivating and powerful.   Desi has the natural ability to perform and command an audience with not only the shimmering beauty of her voice but also with her infectious personality.  The combination worked so well they found themselves performing together nearly every night under the moniker "Desi and Cody."   Desi has recently finished recording her solo EP  In the Dead of Summer which is the logical conclusion to the much awaited Desi and Cody LP.