Top Ten Songs of 2015: #10-6

It’s the most wonderful time of the year: the deluge of year-end “Best Of” lists is upon us, and Vintage Voltage is no different. What follows is the first batch of new music that I loved this year. All of these songs are 100% grass-fed, organic, Grade A rock & roll. We’ll be back next week with the final five, so don’t touch that dial.

This year, rather than the typical YouTube links, I’ve made a Spotify Playlist of these songs. You can find that at the bottom of the page.

  1. Don’t Wanna Fight No More, Alabama Shakes

Four out of five dentists agree: the second album is tough to crush. But according to almost everyone, Alabama Shakes did it. They tastefully updated their neo-soul sound without straying too far from the power of Brittany Howard’s voice or the solid grounding of the band’s rhythm section. “Don’t Wanna Fight” is a great example—the whole track is drenched in spectral, haunting echo, but Howard’s painful squeal at the beginning of the song reminds you that however ethereal the band may get, they’ll remain grounded in the world of flesh and blood. And thank God, because we need them here.

 

  1. I’ve Been Failing, Nathaniel Rateliff and the Night Sweats

Although it can’t touch “S.O.B” for sheer popularity, this is probably the second strongest cut on the album. It’s a mid-tempo track, but it swings hard on the back of an uncluttered piano figure and some great handclaps. It reminds me of “Soothe Me,” by Sam and Dave, and as a result I dance like a bad Motown* backup singer whenever this song comes on. Rateliff’s vocal is less frantic than in “S.O.B.,” but that actually allows his voice’s character to shine through better. Lyrically, Rateliff is really cornering the market on catchy tunes with emotionally ambiguous lyrics, and it’s difficult to say if this song’s protagonist is happy with where he is. Again, this hints at Rateliff’s depth as a songwriter, and I think will mean that the band weathers the incoming Soul Storm 2016 (of which more next week).

*For the three or four people who just sniffed at my “error,” rest assured I realize Sam and Dave recorded most of their big hits for Stax, not Motown. Now step away from the comment box.

 

  1. Send My Love (To Your New Lover), Adele*

Is anyone immune to Adele? She’s for sure your mom’s favorite, and you can’t blame her. She’s (Adele, not your mom) not the most musically inventive in the world, but Adele enjoys a sort of fan consensus not available to many musical acts these days. As many other critics have pointed out, another act that commands the same mass appeal is Taylor Swift, so it’s no surprise that Adele’s co-writers and producers on this track (Max Martin and Shellback), have penned a bunch of hits for Swift, including “I Knew You Were Trouble.”

I, however, prefer to think of this song as Adele’s own take on Carly Simon’s “You’re So Vain.” Like that song, “Send My Love” starts with a syncopated, funky hook, and builds to a great anthemic chorus with excellent sing-along potential. This should probably be the next single from 25, so liking this song may partly be a self-defense mechanism—because soon no one will be able to escape it.

*You’ll have to imagine this one, because it’s not on Spotify. Sorry about that.

  1. Blacka, Blackalicious

Although Blackalicious’ first album in ten years wasn’t meant to be a sweeping look at the state of American Blackness in the same way that Kendrick Lamar’s To Pimp a Butterfly or D’Angelo’s Messiah was, Gift of Gab still makes his own statement of solidarity on this track. It’s a theme he’s addressed before (“Shallow Days,” off Nia leaps to mind), but he shows on “Blacka” that he’s lost none of his creativity. On this track, he compares the positive and negative connotations of blackness, broadly writ, insisting that he is both “darker than the random check of passengers” and “blacker than the President/well, half of him.” Chief Xcel’s production provides a nicely insistent syncopated underpinning, and his work really shines elsewhere on the album (“The Blowup” and others). Gab remains my favorite MC, and it was a treat to hear from him again this year. Fittingly, the track begins and ends with a Lee “Scratch” Perry sample that states, “I am the only man that can cure the world by speaking words.”

 

  1. Strangers, Langhorne Slim

On their new album, Langhorne Slim and the Law manage to capture some of the raucousness of their live show in a more polished, thoughtful package than their previous album, The Way We Move. “Strangers” in particular finds them with a slick, almost over-produced sound that should expose the band to a wider audience. Slim’s voice is still a treat to listen to, crackly and yelpy, while the band has managed to find a place for their banjo rock that doesn’t sound like they’re trying to fit in with a now-expired trend. This single represents a big step forward for the group, not least because at 3:36 it’s one of their longer songs. Even if the vocal hook sounds to me like it’s going to appear on an anti-depressant commercial any day now, it’s still a great tune. Go see these guys live if you can—they’re the real deal.

If you’re a regular reader, you probably saw a lot of these coming, but there’s a couple surprises on tap next week–including a new category: Guilty Pleasure of the Year. See you in a week!

Album of the Week: Heavy Chevy EP, Alabama Shakes

WARNING: This is one for the truly devoted crate-diggers among you. I discovered these songs on a bonus 45 that was included with my vinyl copy of the Shakes’ debut album–I don’t think it’s available separately. Good luck! We now return to your regularly scheduled program:

No one who has heard their album Boys and Girls can doubt that Alabama Shakes know how to rock. But they have never sounded as fierce, as frenetic, as they do on this three-track EP. Here, their influences are a little more clearly on display, with a great mix of early rock & roll/R&B sounds.

“Heavy Chevy” begins with Brittany Howard’s voice turned up to 10. She has the rawest voice in popular music today—putting her in Janis Joplin and Big Mama Thornton territory. Seriously. The band comes in with a fantastic energy that owes more to punk rock than some of their more contemplative album cuts. It’s one of those songs where you don’t necessarily understand all of the words but don’t need to in order to know that it’s about boys and girls (hey, what a great album name!) and proving that you’ve got what everyone else doesn’t.

“Pocket Change” has a great early 60’s pop sound, complete with the requisite organ part and a guitar riff that is a distant cousin of Mungo Jerry’s classic “In the Summertime.” It’s light fare that might have worked well on the album as a bit of a breather from some of the heavier stuff, both lyrically and musically. Maybe it’s a little derivative, but oh well.

“Mama” has a classic early rock & roll structure, with slapback echo on the guitar and a straight ahead drumbeat, but also boasts a really funky breakdown and Howard’s great vocals. What’s so great about this song—and about this EP more generally—is that Alabama Shakes can combine a bunch of vintage musical elements in ways that wouldn’t have happened when these styles were developing in the late 50s. Big Mama Thornton wouldn’t have played with Carl Perkins no matter how much each of them may have wanted to. So really, the songs on this EP represent a progression and natural outgrowth of the source material; modern music with vintage antecedents. And that’s maybe the hippest thing of all.