#Nathaniel Rateliff & The Night Sweats Review

[belwoodmusic]

Album Review: Nathaniel Rateliff & The Night Sweats - South of Here

Nathaniel Rateliff & The Night Sweats – South of Here Americana | Folk | Rhythm & Blues 62% Continue reading Album Review: Nathaniel Rateliff & The Night Sweats – South of Here

[mxdwn]

ALBUM REVIEW: Nathaniel Rateliff and The Night Sweats – What If I

https://music.mxdwn.com/2023/06/25/reviews/album-review-nathaniel-rateliff-and-the-night-sweats-what-if-i/

[krispyweiss]

Song Review: Margo Price - “Stranger in a Strange Land”

Margo Price managed to retain Leon Russell’s spirit while making “Stranger in a Strange Land” sound like a Margo Price song.

Her cover is the lead single announcing the Aug. 25 release of A Song For Leon: A Tribute to Leon Russell, which includes contributions from Nathaniel Rateliff & the Night Sweats, Orville Peck, Pixies, Monica Martin, Hiss Golden Messenger and others.

In strong voice and with a slight echo effect in place, Price is backed with a choir and ensemble that sounds uncannily like Tedeschi Trucks Band. Her “Stranger” hits its apex on the long coda as she riffs at the mic and the band vamps.

There’s got to be a better way/a better way/a better way, she sings as it builds.

Hot stuff, this is.

Grade card: Margo Price - “Stranger in a Strange Land” - A

7/13/23

[americanahighways]

REVIEW : Nathaniel Rateliff and the Night Sweats "South of Here"

REVIEW : Nathaniel Rateliff and the Night Sweats "South of Here" @nathanielrateliff @americanahighways #americanahighways #southofhere @jmichaelantonio #newmusic2024 #writtenbyahuman #sungbyahuman #playedbyahuman #musicreviews

Nathaniel Rateliff and the Night Sweats – South of Here   Amongst singers in the Americana genre, Nathaniel Rateliff has always ranked as one of the most expressive and soulful since he and his band the Night Sweats first burst on the national scene in 2015 with their eponymous release Nathaniel Rateliff and The Night Sweats. On their fourth studio album South Of Here, released on June 28th, the…

[theindyreview]

New Music Friday: June 28, 2024

#NewMusicFriday w/albums by @NRateliff @_GuidedByVoices @JohnnyCash @danielnunnelee @CocktailSlipper & songs by @Xtheband @brighteyesband @jdmcphersonjr @thecalamatix @zebrahead @annashoemaker_ @WeAreFelicity @pcrcdelhi @wearezetra @musicpronoun

2024 is half over, and we’re closing out pt. of the year with some fine albums today. We have the latest from Nathaniel Rateliff & the Night Sweats, Guided by Voices, Daniel Nunnelee (read our review here) and the release of a long-lost Johnny Cash album! Then there’s a new EP from Norwegian power pop rockers Cocktail Slippers which is easy to enjoy. And man are there some great singles out from…

[chorusfm]

Uncle Lucius – Like It’s The Last One Left

The fifth LP from roots rockers, Uncle Lucius, is a solid slab of blues-driven guitar rock that hits its mark more often than not. Like It’s The Last One Left is the band’s first album since 2018, and their song “Keep The Wolves Away” was featured on the hit TV show, Yellowstone, recently that helped reinvigorate an interest in the band. Flash forward to 2023, and Uncle Lucius have returned with a record worthy of the legacy that they have built before them. The album was recorded to analog tape, with everyone playing together in real time, and you can really feel the energy of the band coming back together here. Uncle Lucius is back for all the right reasons, and I think we’re all better off for it. The album opens up with the Nathaniel Rateliff and the Night Sweats-esque modern groove of “Keep Singing Along,” that finds Uncle Lucius getting their footing back rather quickly. “Civilized Anxiety” is a pure, bluesy rocker that is sure to translate well into the live setting, especially considering how the entire LP was recorded with that “live feel” in mind. The picturesque single of “All the Angelenos” is a great encapsulation of what Uncle Lucius does well on this entire record: sticking to their spots and finding the beauty in every note. The middle section of the album never sags under its own weight with great, sweeping ballads found on the campfire rocker, “I’m Happy,” the mostly-instrumental “Tuscaloosa Rain,” and the country-tinged “Love in Kind.” The back half brings more tempo changes into the mix with “Holy Roller” that picks up momentum much like a train picking up steam rolling down the tracks. Other late standouts like “Draw the Line” and my personal favorite, “Trace My Soul,” reminded me of early Black Crowes-stylized rock with equally pleasing results. By the time you reach the beautiful conclusion of “Heart Over Mind,” you’re wondering why Uncle Lucius decided to disband in the first place five years ago. This band should feel reinvigorated by Like It’s The Last One Left, because they’re certainly make it feel like they’re playing their hearts out as if it was their last rodeo. --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/reviews/uncle-lucius-like-its-the-last-one-left/

[suchananewsblog]

Red Hot Chili Peppers, John Mayer, Alanis Morissette to Headline 'Sound on Sound' Festival

If you purchase an independently reviewed product or service through a link on our website, Rolling Stone may receive an affiliate commission. Sound on Sound, the Connecticut music festival, will return to Bridgeport from Sept. 30 through Oct. 1 with big-name headliners Red Hot Chili Peppers, John Mayer, and Alanis Morissette. Trey Anastasio Band, Hozier, Nathaniel Rateliff & the Night Sweats,…

[thephotopitmagazine]

FROM THE PIT TO THE CROWD: INNINGS FESTIVAL FLORIDA - DAY 2 - TAMPA FL - MARCH 20, 2022

FROM THE PIT TO THE CROWD: INNINGS FESTIVAL FLORIDA – DAY 2 – TAMPA FL – MARCH 20, 2022

[coloradomcpoeticslave]

The "No Filter Tour" Review: Nathaniel Rateliff and the Rolling Stones

The “No Filter Tour” Review: Nathaniel Rateliff and the Rolling Stones

By Daniel Paiz

The Rolling Stones have had one of the longest careers of any band imaginable. Their first show in Denver dates back to 1965, and it almost sounded like they planned to visit again at the end of this show. It was a very enjoyable night, and one that should also signal to Colorado music fans that Nathaniel Rateliff and the Night Sweats are ready to have their own impressive run.…

[charliehatesyourmusic]

The Dangers of The New Retro

Has anyone else seen some of the ridiculous playlist titles on Spotify? Let me give some examples: “Teenage Dirtbag,” “Cool Hunting” (worst hunt ever, no cool was found), “License to Chill,” and the ever-so-douchey “undercurrents,” which sounds like a shitty band that would open for HAIM. Among these gems I found one awhile back entitled “The New Retro.” If you know words and shit, you’ll know that retro means something along the lines of imitative of a style, fashion, or design from the recent past (that’s from Google, I’m not a human dictionary). So. First of all Spotify is claiming that on this playlist there is music that mimics music that mimics old music. Artists like Nathaniel Rateliff & The Night Sweats, Kaleo, and Leon Bridges reside on this playlist.

If you’re a fan of any of these people, just stop reading.

Here’s my beef with this new retro bullshit. I love the music that these artists are trying so hard to emulate. What they end up doing, however, is blatantly ripping off the music of yesteryear. It’s one thing to be influenced by a band, it’s a whole other thing to copy exactly what they do. For example: Alabama Shakes (primarily their second album) draws inspiration from classic rhythm and blues music, but what sets them apart is not only the exceptional vocals of Brittany Howard, but the strange arrangements they create (Sound & Color) and the interesting sounds their producers mix in the studio. Don’t Wanna Fight lyrically sounds like it could be a hit in the 60s, but the sound is much more updated and rough. It sets itself apart.

Most bands are incapable of making a sound their own, that’s why the alternative radio stations are saturated with music that could very well be on the oldies station. Every time I hear the horeshit faux-Negro spiritual opening of S.O.B. by Rateliff, I pull my hair out. It’s not only appropriating that culture, but it’s entirely unoriginal. By the time the chorus hits, which in his defense isn’t awful, you still find yourself pissed at the stomp-clap garbage that preceded it.

I’m sick and tired of hearing about these self-proclaimed folk singers singing about riding the rails and talking like their constantly method acting for a role in Grapes of Wrath. It’s 2017 boys, there are much more pressing things to sing about besides what Dylan covered in his first album. There’s enough folk-music fuel around today to make ol’ Bobby think he was born in the wrong era. Honestly, I’m all for reviving older styles of recording music: real instruments, real heartbreak, real issues. I also understand that nothing in art is entirely original. But if you have so little talent that you can’t create your own sound from something else, quit or take some time to develop. Creating music that belongs on the “New Retro” playlist is the musical equivalent of adding an Instagram filter to an already boring song. People keep losing their minds about these new bands that may as well be cover bands of the bands their ripping off. Critical darling Leon Bridges baffled me the most when he appeared on the music scene. His fashion, his musical style, even his album art is entirely derivative. I didn’t know if this kid was new or old. I heard teens talking about his music as if it was something revolutionary, when in fact countless others did exactly what he did but better.

The sad thing is a lot of these bands have talent. They just don’t know what to do with it. I’m glad that kids today are trying to get in touch with the physical aspect of music again via the record pressing industry, for example. In an attempt to explain why this type of industry is bouncing back, Jack White said, “It’s reverential. People are just tired of the invisibility of [the music], tired of the disposable nature of music for the last 10, 15 years. We’re seeing it blowing up in a way where you’re seeing [records] for sale at malls…I mean it shows you this is really happening (VICE News).” While it’s nice that these kids are tired of feeling removed from music, deluding themselves into thinking they’re cooler by living in the past (mainly the 60s) will perpetuate the lack of original music. And it isn’t just 60s music that’s being ripped off. Sounds from the 70s-90s are all coming back. There are good examples of this (Foxygen’s 21st Century Ambassadors of Peace and Magic, BRONCHO’s Double Vanity), and there are bad examples (Cut Copy’s Zonoscope, The 1975’s Love Me, which hand to God is a cover of Bowie’s fame). Again, it’s okay to draw influence from these past decades; they were iconic for a reason. But what’s the 2017 sound? Just an amalgamation of indecisive style choices? The music this period will be most known for, if this doesn’t stop, will be EDM. EDM people.  AND WHO IN THE F*CK WANTS THAT?

This trend stretches beyond music and into fashion, movies, video games, etc. And again, if conducted properly (Guardians of the Galaxy, It Follows, new twists of Nike or Adidas 90s-style shoes for starters, updated and artistic side-scrolling video games like Limbo), taking inspiration from the past is incredibly effective. Take your inspirations, put it through your own filter, and hope something original comes out the other end.

[slyke25]

2015

If you were to chart a graph of my happiness and passion for covering live music since the begging of this site in ‘09, it’d probably peak sometime in 2014, and 2015 would start the stow decline.  I now found myself pondering a question I wouldn’t be was possible many years earlier.  Is it possible to burn out on concerts?

I’ll dive into that question during my thoughts on 2016 (the end of my blog), but in 2015, I did manage to see some memorable shows.  I invite you to click on the bold print below for links to each of the 20 shows, where you’ll find photos, videos, and maybe even a few words.

These are just a handful of some of my favorite shows from 2015, and to see the full list of every show I covered in ‘15 (with links) click the ‘14-’16 archive here.

The Lone Bellow at the Paradise Rock Club (2.12.15) - These guys were visibly enjoying their success.  This ended up being a super fun show

Sturgill Simpson at the Paradise Rock Club (2.20.15) - This would be my first time seeing Sturgill live, and even though he was feeling under the weather, his performance exceeded my expectations, and he managed to crank out some killer jams.

Damien Rice at the Orpheum (4.7.15) - I remember when he released his album, O, back in ‘02.  I love that album, and it took me 13 years to see him. 

Sufjan Stevens Hartford, CT (4.12.15) - I’m a huge Sufjan Stevens fan, and even though I enjoyed The Age Of Adz (2010), I was patiently hoping for a new album similar to his earlier material.  On February 16, 2015, he shared the first single “No Shade In the Shadow of the Cross” from his upcoming album Carrie & Lowell, and I couldn’t have been happier.

Luckily, I managed to hear the full album before it’s official March 31st release, and was blown away.  This album was a welcomed bright spot during a dark time in my life, and I couldn’t wait to hear it live.  On a whim, I decided to attend the third show of his tour and traveled to Hartford.  While I officially didn’t cover the show, I did capture “Fourth Of July” on video, which was an incredible and intense version of the song.  He was still working out a few kinks for many of the new songs live, so it wasn’t a flawless performance, but I loved the show, and the new tunes sounded beautiful..

Sufjan Stevens (Citi Wang Theatre) (5.4.15) - This show was slightly more polished than Hartford, and Sufjan seemed to be finding his groove with the new tour.  I recorded “Blue Bucket Of Gold”, which was an epic13-minute long version of the tune.

Album Review: Sufjan Stevens - Carrie and Lowell (5.11.15) - I wasn’t only enjoying the new album, I was obsessed with it.  So much so, I was inspired to write an album review, which is something I never do, but was pleased with how it turned out.  You can read it here.

The Tallest Man On Earth (Calvin Theatre) (5.13.15) -  I always enjoyed going to Northampton for shows, and this was a special one, as it was the tour opener for his new album, Dark Bird Is Home.  

Courtney Barnett at the Sinclair (5.18.15) - Courtney was touring behind her debut studio album, Sometimes I Sit and Think, and Sometimes I Just Sit.

Boston Calling Day Fri (5.22.15) (Sharon Van Etten, Tame Impala, Beck) 

Boston Calling Day Sat (5.23.15) (Krill, DMAs, Mo, Run the Jewels, Tove Lo, Gerard Way, Marina and the Diamonds, St. Vincent, Ben Harper and the Innocent Criminals, My Morning Jacket) 

Boston Calling Day (5.24.15) (The Ballroom Thieves, Halsey, The Lone Bellow, Lucius, Jason Isbell, Vance Joy, TV On the Radio, Tenacious D, Jack Black, The Pixies)

Levitate Music Festival - Marshfield (7.11.15) - The Chris Robinson Brotherhood, Dr. Dog, Trombone Shorty and Orleans Avenue - Levitate started back in 2013, and this was my first time attending this festival, which I enjoyed.

Newport Folk Festival Day Fri (7.24.15) - (Joe Pug, Bahamas, Elephant Revival, Angel Olsen, Leon Bridges, The Lone Bellow, Calexico, Strand Of Oaks, The Tallest Man On Earth, Iron & Wine and Ben Bridwell, Heartless Bastards, My Morning Jacket, Roger Waters) 

2015 was absolutely stacked for Newport.  On paper, it doesn’t  get much better, and they were celebrating the 50th anniversary of Bob Dylan going electric back in ‘65.

Sadly, this would be my final year covering the Newport Folk Festival, as I ended my blog in the spring of the following year.  However, I’d attend the festival one last time in ‘16, just as I began - a fan looking to hear some music from artists I liked, in a beautiful waterfront setting among some fine folk.

Newport Folk Festival Day Sat (7.25.15) - (Spirit Family Reunion, Joe Fletcher, The Barr Brothers, Joe Pug, Langhorne Slim and the Law, Nikki Lane, Jason Isbell, Courtney Barnett, Sturgill Simpson, Tommy Stinson, James Taylor, Sufjan Stevens, The Decemberists)

Newport Folk Festival Day (7.26.15) (The Ballroom Thieves, Christopher Paul Stelling, Brian Fallon, Jon Batiste, Nathaniel Rateliff & the Nightsweats, Lord Huron, The Felice Brothers, First Aid Kit, Blake Mills, Laura Marling, Hozier, J Macis, Shakey Graves, Dylan ‘65 Tribute, Gillian Welch and David Rawlings, Willie Watson, Dawes, Robyn Hitchcock)

Van Halen at Xfinity Center (8.1.15) - This was one of those bucket list shows for me.  Oddly, I’d never seen Van Halen, and this was a pretty cool experience. 

Boston Calling Day Fri (9.25.15) (Gregory Alan Isakov, Of Monsters and Men, The Avett Brothers)  - As far as three-artist, day #1 concert goes, it doesn’t really get much better for me.  

Boston Calling Day sat (9.26.15) (Stephen Malkmus, Sturgill Simpson, Father John Misty, Walk the Moon, Chromeo, Chvrches, Alt-J)

Boston Calling Day (9.27.15) (Alabama Shakes, Bully, Daughter, Mister Wives, Nate Ruess, Ben Howard, Hozier) - This would be the last Boston Calling I would attend, and the festival would move from Government Center to the Harvard Athletic Complex in May of ‘17.

Nathaniel Rateliff & The Night Sweats (Royale) (11.6.15) - After first seeing the at Newport, I just had to see the band again.  I’d actually see them four times in Denver from 2016-’18.

Lake Street Dive (Club Passim) (11.18.15) - This was part of their “Memory Lane Tour,“ which included three Cambridge stops - two nights at Club Passim and one at the Lizard Lounge.  This very tiny Club Passim show (capacity 100) was quite special, and included songs from their upcoming album.

[radiomax]

Wednesday 11/10/21 11pm ET: Feature LP: Nathaniel Rateliff & the Night Sweats - The Future (2021)

Wednesday 11/10/21 11pm ET: Feature LP: Nathaniel Rateliff & the Night Sweats – The Future (2021)

The Future Review by Timothy Monger / All Music Five years into the most successful phase of his career, Nathaniel Rateliff suffered an identity crisis. His bold 2015 transformation from lyrical indie folk act to retro-soul bandleader went about as well as he could have hoped; his full-band debut, Nathaniel Rateliff & the Night Sweats, went gold, effectively launching the Denver…

[thisaintascenereviews]

Album Review by Bradley Christensen Highly Suspect – The Boy Who Died Wolf Record Label: 300 Release Date: November 18 2016

Modern rock music is at a bit of a standstill at the moment, because it’s not quite sure where it wants to go. Hell, it’s not even sure if it wants to go anywhere, because it’s essentially been in the same place for the last fifteen years. Rock music changed a lot from the 1960s through the early 2000s, whether it was psychedelic, 70 hard rock, 80s glam rock, 90s grunge, or early 00s modern rock and indie rock, but ever since the early to mid-00s, it’s come to a halt. Rock music was changing, morphing, and evolving, but it hasn’t done anything like that in years. An article was written last year about how hip-hop, as a collective genre, has been eclipsing rock as the most popular and “important” genre of music today. A lot of “tr00 rawk” fans, as I call them, would disagree, because they can’t dare to imagine that their precious “guitars and stuff” aren’t cared about as much anymore. There’s definitely a conversation that can be brought up, even a year later, because rock music hasn’t exactly stepped up its game. A lot of bands brag about not embracing pop music, and how they would never “sell out,” but there’s nothing wrong with that. Fall Out Boy is a perfect band to showcase why it’s fine for rock fans to embrace pop music, because they’re still one of the most popular rock bands within the landscape of music, but that’s partially because they’ve adapted with the times. A big issue with many rock bands today is that they want to stay exactly the same, but that’s directed to “veterans” of modern rock. Yeah, sure, it works for Nickelback, but people have stopped caring about them years ago. Every now and again, though, you hear about some rock bands that are blowing up, such as Nothing More and Starset, but I can’t see either band blowing up in the mainstream, because they both have complicated, experimental, and “weird” sounds that the mainstream might be able to get into, but there are a lot of newer bands that have the ability to get huge.

I’ve been listening to a lot of newer bands, such as Nathaniel Rateliff & The Night Sweats, The Record Company, The Revivalists, Greta Van Fleet, and Rival Sons, just to name a few, but all of these bands have something in common – they sound oddly fresh by going back to the past. These bands have influences that range from Otis Redding to Led Zeppelin, but they look to the past for their sounds. While it’s great that a band like Fall Out Boy can remain relevant and interesting through adapting and taking elements, sounds, and influences from pop music, what rock music needs is a shakeup. It needs a blast from the past. People have been listening to rock music since the early 1960s, and that’s quite a lot of time for a genre to exist and evolve, so it’s no surprise it’s a bit stagnant at this moment in time. It occurred to me while I was listening to these bands one day that they all have that one major thing in common, and what’s even better about it is that they all sound different. They might have the same basic sound, or have some similar influences, but they don’t sound like carbon copies of each other. Another big issue of rock music that I have is a lot of bands just sound the same. Like I said, there are bands like Nothing More and Starset, mainly those in the modern rock scene, but those bands have the issue of being a bit too inaccessible for casual music fans in the mainstream, so I can understand why they wouldn’t catch on, but bands like Nathaniel Rateliff & The Night Sweats, The Record Company, and Greta Van Fleet all have sounds that are incredibly timeless. Seeing bands like this get a bit of buzz throughout the rock scene, as well as the music world in general, gives me some hope for rock music, because it shows that people are starting to care more about rock music again, since these are bands with a timeless feel and sound to them. That’s what makes Highly Suspect, a rock band that’s been getting a good amount of buzz the last few years, an interesting case, because they’re right in the middle.

Highly Suspect, who was nominated for Grammy in 2017, is right on the line between having a timeless sound and a newer, weirder, and more experimental sound. They’re a band that’s been getting that buzz, considering that they were nominated for a Grammy for the song, “My Name Is Human,” but I hadn’t really seen “tr00 rawk” fans talking about them that much. I mean, I’ve heard about them, but that’s the extent of it. A few years ago, Best Buy would always put together an end-cap of “up and coming” bands, and these albums were always on sale, around $7.99 - $9.99, but one album I remember seeing was Highly Suspect’s debut LP. I didn’t think anything of it, because the album art never caught my eye, so when 2016’s The Boy Who Died Wolf came out a few years ago, I vaguely recognized the name, but that’s it. I didn’t know what they sounded like at all, and not hearing many rock fans talking about them didn’t help, either, but I had the chance to check it out recently, because I picked it up at FYE. I exchanged a copy of another album that I had bought, and instead of getting cash or credit back, I just exchanged that album with The Boy Who Died Wolf. That’s the only thing that caught my eye, because I was curious about them, but I didn’t really know what to expect. What I got, however, was a rather conflicting experience. That’s how I feel about the album as a whole, especially since I’ve had time to sit with it. I can’t say that I’ve been coming back to this record all that much, considering that everything else I have is a lot better, but that’s not to say that this LP is bad, either. It’s not bad at all, but this album is incredibly confusing. That’s its biggest issue, honestly, because they try to have the best of both worlds with the current state of rock music. On paper, that sounds pretty interesting, but when it’s executed, it doesn’t work as well as it wants to. Like I said a bit ago, they try to have both a more experimental rock sound, as well as a timeless 1970s hard rock / blues rock sound, and it doesn’t mesh too well.

Part of that is because the album doesn’t sound very cohesive, thanks to how many sounds that they try to throw into this album, whether it’s blues rock, hard rock, punk, and even a bit of post rock. It’s not like the album is really, really long, as it’s only 45 minutes (that’s definitely one reason why bands like Nothing More and Starset really aren’t going to catch on in the mainstream, since their last albums are over an hour long a piece, which isn’t good news for the casual rock listener), but when albums are very messy, jarring, or a bit too diverse for its own good, length really matters. A couple of songs on this album are over five minutes in length, which honestly makes those songs drag a bit. It’s not even the overall sound that bothers me, because I really like some of these songs, and the guitar tones are pretty interesting throughout the album, since they have a punk / blues hybrid sound going on, but what kills me on this album is their vocalist. You know what? I’m going to say it – he’s not that good. I mean, their vocalist isn’t the worst, by any means, but he’s not that good for this kind of music. What I mean by that is, well, his voice doesn’t light a candle to the music itself. As much as the jarring sound bothers me to a point, the instrumentation itself does sound really good. An album’s only as good as its weakest link, however, and their vocalist is the band’s weakest link. When the band goes for more of a punk edge to their sound, he doesn’t sound half bad, because the instrumentation is rougher around the edges and it’s not focused on the emotion that blues rock requires, but it’s a shame to hear such lackluster vocals compared to really nice instrumentation, and that’s kind of a dealbreaker for me. Truth be told, if I didn’t exchange the album, I wouldn’t have picked it up otherwise. I only got it for a couple of dollars, so I don’t feel bad for not being too into it, but it’s not an album that I’d want to buy full-price. It’s not like I regret listening to this, because Highly Suspect is a band that has potential, and they have an interesting sound, but the pieces don’t quite fit into place just yet.

[krispyweiss]

Song Review: Nathaniel Rateliff with Bobbie Nelson, Mickey Raphael, Lukas and Micah Nelson, Nikki Lane, Courtney Marie Andrews and Others - “Willie’s Birthday Song”

Nathaniel Rateliff threw an early musical birthday party for Willie Nelson, who turns 87 April 29.

Family - Bobbie, Lukas and Micah Nelson - and friends - Mickey Raphael, Nikki Lane, Courtney Marie Andrews and members of the Night Sweats - attended. And together, they sang “Willie’s Birthday Song,” an “El Paso” soundalike that recounts Willie’s career, ahem, highlights before getting to the point on the singalong chorus:

Pass me that joint, it’s Willie’s birthday/wipe away all of your tears/now the world’s gone crazy/but we’ve still got Willie/and all the good things he’s done for us here

“Willie’s Birthday Song” is the latest charitable installment in Rateliff’s Marigold Singles series; proceeds from this one benefit Farm Aid and StrongHearts Native Helpline.

Grade card: Nathaniel Rateliff with Bobbie Nelson, Mickey Raphael, Lukas and Micah Nelson, Nikki Lane, Courtney Marie Andrews and Others - “Willie’s Birthday Song” - B

4/27/20

[internet-radio]

Top 5 Songs of Last Week - 1/12 - 1/18

Last week saw a LOT of new music drop, so much that my queue was filed up much more than most weeks. It seems like the music world has finally settled into the new year after a post-holiday slump, and we’re excited for upcoming projects from Fall Out Boy, Justin Timberlake, and First Aid Kit in the next few weeks! For now though, let’s look back at last week’s top songs.

1. Iceberg -  BØRNS

Okay, so I’m kind of self-promoting since I reviewed his newest album, Blue Madonna, but this song among others off this album are pure gems that I’m sure I’ll be bumping for weeks to come.

2. Ruins - First Aid Kit

First Aid Kit dropped the title track off their upcoming album this last week. It officially drops today and I couldn’t be more excited to finally listen to it!! Now to decide if I want to review this or Fall Out Boy’s new album.....

3. Curious - Hayley Kiyoko

Miss Hayley keeps dropping bops, and this song is no exception. She even got a shoutout from my queen Lorde this week on twitter for her run-on chorus. The song is super catchy, and I can’t wait for her album to drop this March!

4. Lottery - Jade Bird

Don’t sleep on this track. I didn’t know who this artist was before this week but this song is too damn catchy. I found myself humming it long after it was over and I’m sure I’ll hear it playing on some alternative stations soon enough.

5. You Worry Me - Nathaniel Rateliff & The Night Sweats

I freaking love this band, and this new single shows a change of pace from the energetic rock tracks from their past album. I’m here for it, Nathaniel’s more mellow and soulful vocals on this one.

With love always, 

internet-radio