#and there is a certain artist I blocked on Spotify a while ago but sometimes I still wanted to hear a specific song or two

[blossoms-phan]

i said oh i’m sure

[immersedinm]

In support of their recent EP release Wild Rivers is currently burning up the highways and byways of the states. Most recently, they were sweeping throughout the south, and Atlanta was fortunate they made a stop at Eddie’s Attic last Thursday evening. Having played the venue before, they seemed relaxed prior to the show as they were spotted happily chatting to excited ticket holders of the sold out show.

A few weeks ago, I shared their tune “Howling” before realizing they might make the long trek to Atlanta. I simply knew it was a winner. When I heard they were making Atlanta a part of their tour, they were kind enough to answer a few questions to help us get to know them a little better.

Wild Rivers is a Toronto based band with seamless guitar, steady percussion and stunning vocal harmonies, all fused together with earnest songwriting. The group began with Devan Glover and Khalid Yassein, and they were voted Toronto’s best new artist in 2015. Since then, they added Ben Labenski (drums), and Andrew Oliver (bass, guitar). Although at their performance in Atlanta, the drummer was someone else (did not catch his name) filling in for Ben. He was talented, but not sure if he was a permanent change or filling in.

1. How did you all meet? What is the story behind the name, Wild Rivers?

Devan Glover-

“A few of us met in college, and through mutual friends. A music career was something we’d all dreamed of pursuing, so after graduation we started to take it more seriously, and that summer we got into the studio to record our first album. We all got together to work out arrangements for the songs, and have been playing together ever since. It all kind of developed from there.” 

“As for the name, honestly it came from hours and hours of playing word association in the car. On long drives, we’d spitball combinations of words that we liked, writing down the ones that sounded cool and resonated in some way. “Wild Rivers” was in the running, and one day we stumbled upon a poem by Gregory Orr that we related to, titled The River (see it here). Thematically, The River resonated with us because it’s about taking a plunge into the unknown. At the time, this was exactly what we were doing, diving into a new career path and experiencing the uncertainty that comes with graduating college and having to figure your life out. The poem mentioned ‘Wild Rivers’ a lot, so that’s how we settled on the name.”

2. When I listen to your music, I feel like it has the roots of folk/rock/country music I have grown up with all my life living in the American south, but you breathe a freshness to it which makes it unique. Who are your musical influences and how does that impact your sound?  

Devan–

“We all grew up listening to lots of classic singer/songwriter, folk and rock music –  James Taylor, Fleetwood Mac, The Eagles, The Beatles. We draw a lot of inspiration from artists in that era – particularly when it comes to songs with a heavy lyrical focus and lots of vocal harmony. We also look to a lot of current folk/rock artists for inspiration – The Lumineers, Bahamas, Half Moon Run to name a few – but individually, our musical tastes span across many genres. I think this works to our advantage, because it allows us to incorporate certain aspects of different genres into our own music, and hopefully create something unique. When you think about it, the best bands have never been bound to a certain genre. Fleetwood Mac has songs ranging from country to pop to folk to rock. John Mayer started as a singer/songwriter, went on to put out a country blues album, and is now sampling hip hop beats in his newer music. We try to operate under the mentality that the best song always wins, no matter if it necessarily “fits” within a certain genre.”

  3. This isn’t your first big tour, what do you look forward to the most this time around? What have you learned about being on the road and staying fresh for each show?

Khalid Yassein-

“We’ve never been to the West Coast, so that’s going to be a huge highlight. We’ve had a lot of people asking for us to come out so it’ll be cool to finally play some shows out there! We’re planning on doing lots of hiking and exploring on days off. We’ve gotten a lot better at managing our sleep and exercising  when we’re on tour. We’re also always looking for healthy food and it’s fun to find new little spots. We’ve been at it long enough now that we know what works and what’s not sustainable. It’s all about balance.” 

  4. What is your songwriting style or music making process? Does the music follow the lyrics or the other way around? Is it collaborative writing or do one or two of you develop a song and then bring it to the band to complete?

Khalid-

“We go about it a lot of ways. On our first record, I  wrote a lot of the songs, almost always with music first and then building lyrics and ideas on that. Devan and I co-wrote a few on that album, which is cool because Devan is mostly lyrics first. On our new EP we co-wrote a lot with each other, as well as with a few songwriters out of Nashville which was a pretty awesome experience. You get a new feel when you step out of your comfort zone with new writing situations, it’s fun! “

  5. When y’all are on the road, what other bands are you listening to?

Khalid-

“We love all kinds of music. A lot of old classics, today we were going through the Beatles discography start to finish. Right now we’re into a rapper called Noname out of Chicago who’s incredible. And in the Americana world we’re really into new records from Rayland Baxter and Ruston Kelly. We like to mix it up for long drives.”  

They gave me a few new sounds and if you know me, you know I have already tapped into them on Spotify.

Wild Rivers at Eddie’s Attic

As we were waiting for Wild Rivers to begin, Eddie’s Attic filled up quickly with a buzz of excitement. It was a sold out show, with very little standing room. I enjoyed chatting it up with people who were there. Two pretty girls were standing behind me, and I couldn’t help overhear their strategy to try and find two empty seats. I made every effort to help them, but it wasn’t possible that night. When I explained about my blog and why I was there, they asked if the band members were friendly and nice. I explained that they were incredibly open and made an effort to answer my questions as well as chat with me before the show. Some bands don’t do that! The girls were big fans trekking miles and miles to see Wild Rivers on a Thursday night, and they actually breathed a sigh of relief to hear the band was genuine.

Certainly talent, creativity, and presence helps, but sometimes it is the extra effort to chat with fans that can make all the difference. Wild Rivers seemed polished and practiced, with no stumbles or fumbles that I could tell. They were hitting all the right notes and truly fantastic.

Wild Rivers-L-R  Khalid Yassein, Devan Glover, and Andrew Oliver

  I really tried to capture Khalid’s dreamy sincere eyes, but I didn’t bring my obnoxious lenses. Others were swooning along side me…It is a forceful combo of crazy smooth talent + good looks. He has something to say and expresses moods and emotions in a way that connects.

Wild Rivers had quiet solo moments with an acoustic guitar, as well as powerful full band, hand-clap inspiring tunes. They mixed up their songs nicely and at moments, I wished I could stand up and sway to the ever changing tempos, but didn’t want to block the view of others.

Andrew’s guitar added a depth to the songs and gave them an edge, which without, would have left them lacking. The drum and guitar complete their sound and help them to expand the possibilities.

  Some bands chat between songs and some bands don’t. Sometimes it works and sometimes it doesn’t. In this case Khalid did most of the talking and it worked well. You could hear a pin drop. He gave some background to his songwriting and the premise for the lyrics. I felt the purpose behind the music, which only made me appreciate it more.

Devan has an incredible voice which puts this band on another level. I kind of expected sweet chirping blue birds to land on her outstretched hands at times. Yep, the range and control was enviable and jaw dropping. She made it seem so effortless. And yes, a woman from the audience yelled out at the end of one song, “You’ve got some pipes girl!” after she belted out a deeper tone.

  I captured a snippet of Wild Rivers performing their latest hit, “I Won’t Be Back”, from their recent EP release titled, Eighty Eight.

  I was able to nab the set list after the show, and the guy sitting next to me was reminded, and jumped up to get another one for his wife (who is also from Toronto!). She is holding it as her friends gather around. They were my pick for super fans (pictured at the foot of my blog homepage) and all went home smiling!

Here is my set list up close. Note-there is a new tune on the list, “Moving Target”. Listening, I could hear the continued growth of this band and recognize the influences of the multiple genres they described in the questions above. 

They have a host of shows from here till the first of December. Don’t miss them while they are still playing intimate venues. Check out if they are coming near you by clicking here. Wild Rivers Shows

As summer begins to loosen up its grip on us all, it was nice to begin fall with a show which proved to be really tremendous.

Wild Rivers-Interview and Photos From Their Recent Atlanta Show In support of their recent EP release Wild Rivers is currently burning up the highways and byways of the states.

[ourmuse-s]

Luisa Fischer

Writing About Music

Professor Loughridge

Due Feb. 28. 2021

Artist Interview

Eph See on Finding Her Sound, Balance and the Music Industry

     This past week I had the chance to have a FaceTime interview with Felisha Cabral, otherwise known by her stage name Eph See. A third year Music student, Eph See has been making a name for herself around the Northeastern campus, with tracks such as “Field Recordings”, “Body” and “April”. We sat down together (virtually) to talk about the singer-songwriter’s processes, past and upcoming projects, as well as what it’s like to be a female and non-binary artist in the music industry.

When and how did you first start getting into music?

Music… I feel like every artist says this but music has always been a pretty prominent part of my life. Yeah, I remember doing theatre and choir and stuff since like elementary school and it just continued and continued. I did that throughout middle and high school as well but it wasn’t until I got to high school… we had something that was called Jazz Combo - we never really played jazz - but it was like rock band essentially and I was a vocalist for it and that got me into performing and I was like ugh it’s so cool to be able to you know sing all these songs in front of audiences and stuff even though it was like friends and family… but I really liked that. And then I started writing my own music seriously probably around freshman year of high school. I was a very musical person. If someone said something like a line that was stuck in my head I would just start singing it… I was definitely that kid. But yeah, I remember writing my first song ever ever, that I performed, when I was I think ten or eleven years old? And it was at summer camp and I got all the counselors to sing it with me as well as my backup singers. Oh my God it was sooo dramatic, but that’s the first thing I remember, like writing a song and performing it for people... and I guess here I am now!

What’s the first song you remember writing and really liking?

Okay that’s easy! That was a song I wrote at fifteen called “The Shelf”. It’s a song about unrequited love but someone that always comes back to you, I guess, because you’re there. And the whole premise is like “I’ll just stick to being another book you put back on the shelf and take down when you want”. I was fifteen, I don’t know what I was thinking… Like what was I feeling, what was I going through?

It’s funny that a high school crush as a fifteen year old can turn into a song like that…Did you ever end up recording it?

No. But I did perform it in front of my grade. That was the second time I performed an original song just me and my guitar and I performed it at school. I was like… pretty bold back then, which is kind of cool but also looking back at it I felt bold but during the performance I was so nervous.

Do you still get nervous when you’re performing today?

Oh yeah, all the time, but I think it’s just because I care. I want to do well and I want to connect. It’s less so about looking good or not messing up now… that used to be my fear. But now it’s, you know, what did I write this song for? To help other people and to help myself. And if I can do that well, I care a lot about it and when you care a lot about something, that can become nerves.

Yeah that makes a lot of sense… It’s funny because you seem like you’re a real natural at it.

Thank you! It definitely took time. But that’s another thing I forgot to mention, I did acapella for a while and that was a lot of performing very consistently.

And probably a lot of pressure too.

Oh yeah, especially with some of the crowds that we got. We did like a competition too, I remember my first year second semester in that group, we did do a competition and that was… terrifying. But we won and the feeling after that was insane.  

Do you think you like performing in group settings (like with Acapella) more or when it’s just you and your music?

Mmmmmm… That’s a great question.

I love performing my own stuff, but I always love being with other people. I know for me community is such a big thing and I love people that I can create with consistently. Maybe it’s just me but it’s easier for me to create and be vulnerable with people that I trust and if I’ve worked with you a lot then we have built that sense of trust.  I’ve always - still do - wanted to be in a band and everything, so I definitely see myself being someone who has a touring band that stays pretty consistent or people that I make music or write with pretty consistently. Or even if I work with a producer I’m probably going to keep my circle pretty small and just work with the same people.

Are you looking to form a band or have you taken any action to start one?

I haven’t… you’re calling me out… I think for me it’s just that some things should come together organically and I have tried posting on NeuGigs because I wanted specifically a band of women or non-gender conforming people because I already have to work with so many cis white men and it’s just not the vibe anymore. So definitely non-men, or non-men of color that I relate to more and I’m able to be more vulnerable and open and free with those kinds of people and that’s what I want out of my experience with a band. So, I definitely could do more to find those people but…

But I feel like you’re doing really well as a solo artist right now too.

Yeah. Yeah, that’s true too. I just found this band the other day called Hard Car Kids and I was like wow these voices all sound so familiar. Then I realized they were a bunch of little artists that I listen to who are friends and they made a band so I was like ugh that’d be sick. Something like that.

That’s so true, I love it when bands are all solo artists or have their own side projects. That way you can see different sides to each of them and sometimes the music they make as a band vs the music they make on their own is so different.

Yeah, I think it definitely allows for artists to have more creativity. Because you’ll find that everyone will tell you “Stick to one genre so you can be more marketable!”. With this one producer I’m working with right now, I’ve made six different songs… none of them sound anything like each other. But I think that it’s so good to get that stuff out because that’s kind of what writer’s block is. When you’re not allowing yourself to get everything out or only letting certain things out then of course you’re gonna have blockages because you’re not fully allowing yourself to create. I found that’s what I was going through a little while ago, and then we [producer + Eph See] started working together and now it just comes more naturally because I’m like okay anything that comes out I’m gonna let come out. Instead of only releasing things that would be good as singles because that just kills your creativity.

That’s so true. I think that you have to write some bad songs or ones you don’t love to eventually get to the ones that you’re really excited about. You have to lay the groundwork and get everything you’re feeling out into the world so you can move on and then get the songs you love.

I could talk all day about the pressure that capitalism puts on artists. Like only releasing “good” music… what is that? Good to who? What is the criteria? You know we can’t all write “Driver’s License” so. And when you look back, this is something I went through in quarantine, you know early shut-down - I was forced into a lot of alone time and I’m living alone now - well I don’t want to say forced because I benefited from it. But going through that and having to really see who I am when I’m not trying to be somebody for somebody else has reflected in my music. It’s gotten more honest. Instead of just writing about love all the time - because what is that? - I’ve been writing more about things like childhood and growing up, self expression and exploration.

Especially as a femme artist everyone expects you to write about love and heartbreak. But, there’s so much more to me than that. So I definitely had to let go of the pressure to only release like billboard charting songs because I want to look back at my discography and see growth. You know what I mean? And it’s not that my songs are bad now, but there’s going to be an evolution when you look at my discography. Like Ariana Grande’s Yours Truly and Positions sound nothing alike but they’re still great and I love being able to see her trajectory.

And to see how an artist grows after a couple projects.

And life! Like life changes you and that’s the whole point!

Exactly! Because sometimes you are in the mood to write a love song but… that’s not all there is to life.

There’s so much more.

And because it’s the main topic of most songs, especially for female artists, I feel like it’s easy to get caught up in that.

Right.

You recently came out with “Body” on Spotify, but do you have any other recent projects you’ve put out?

So “Body” was my latest Spotify release, but in December on New Year’s Eve I released a song called “April” on Soundcloud. Sometimes I just like to put stuff on Soundcloud… not as much as I should probably. One of my songs on there, “The Things I used to care about seem to stupid now”, has started to gain likes and plays again which is really cool to see.

...But it’s actually so true like the things I used to care about do seem so stupid now. But I wrote that last March so it’s about to come up on its one year anniversary and I still feel that way so I think it’s a song that will definitely age well with time which makes me very proud. In the comments there’s people really relating to it and that’s what makes me really happy because I think that was one of the most honest songs I’ve ever written. And it wasn’t easy to write because it was very vulnerable but it just shows that it’s worth it because I feel like the more vulnerable you are, the more people are drawn to it. It gives other people permission to feel that as well and to go that deep.

That’s a really good way of putting it. So how did you go about writing a song that’s really and intimate and how did you come up with the idea for that song specifically?

So that song was kind of funny because I just tweeted “I feel like writing an indie song right now” and people were like “well don’t just not do it then”. So then I did! I wrote it in like six hours. Wrote it, recorded it, produced it, mixed it all in six hours and then just posted it to SoundCloud and… Wow I’m actually getting kind of, I don’t want to say emotional but the way it all happened was so just on a whim and it’s the most streamed song on my SoundCloud. I just had a guitar riff that I played and then it just kind of flowed. But the first line is “lately I’ve been feeling like my past self is slowly peeling away” so I was dealing with a lot of identity issues. Two years ago in November I had what people would call a mental breakdown and it was really scary but needed. I think sometimes people think about mental breakdowns in a very nutcase kind of way but what a mental breakdown really is is the way you’ve been living your life or viewing the world or viewing yourself… your soul is just like “this is not it anymore and we can’t go on thinking about life like this or acting like this or being like this”. So then it’s like okay, purge, total recall, burn it all to the ground. You feel really raw for a bit but then slowly you start to reevaluate and piece things together in a way that fits better.

… That’s a bar. I’m gonna write that down. “Piece things together in a way that fits better”.

That’s another thing, I have a lyric dump so I just put anything there.

On your phone and on your laptop?

Mhm *as she’s typing away*

A lot of my songs are just like stitches from my lyric dump.

So, do you think that [“the things I used to care about seem so stupid now”] is your favorite song, or what would you say is your favorite song you’ve released?

Hmmm… Yeah!

I think… ooh… that’s a really good question. I think it’s the most authentic and most cathartic song that I have released but “Field Recordings” was probably my favorite writing process and releasing process.

I definitely want to release more music but I also have to honor the fact that  I’m very much in my own winter season right now. But spring is coming. My life follows the seasons. Fall is all about releasing what you don’t need. Winter is, humans don’t hibernate, but I feel like… well let me not generalize. I don’t hibernate but in the winter time the world is telling me to slow down. Because when spring comes and you’re gonna have all these ideas and all of this stuff that you’re gonna want to do but you need to recharge first. And then summer is like, okay, bask in all the glory!

I get a lot of sunlight from my windows, like so much natural light in my apartment, as well as the view of the moon right outside my window.

I feel like that’s very on brand for you.

Oh my God, it is!

I was thinking about it yesterday and the universe really snapped. But yeah, I have all of these windows, just drinking tea, and I felt like a cat that just sprawls out in the sun. I was trying to get the sunlight all over my body, like my back and I was thinking how these parts of my skin have not felt the sun for so long so I need to soak it all in while I can. But spring is coming!

Do you have any songs on the backburner that you’re planning on releasing anytime soon?

Yeah. It’s about getting into recording and stuff but I’ve been working with the producer that I’ve really enjoyed working with. The only thing is my writing has been all over the place, in all different genres. So I might just set the precedent for anyone who listens to my music that if you listen to me you’re gonna get seven different things at once. And that’s okay. I know there’s a lot of people out there who listen to all different kinds of music. So it may not be as marketable, but I can be your one stop shop!

I also hate the idea of having to make only one type or genre of music. I feel like artists should just be able to write and go with how they’re feeling, and do a bunch of different things.

Yeah and you should be able to! There’s so much emphasis on marketability but how cool would it be to look at it in a different way like you do so much let’s show that. Because that will draw so many people to you. I just think sometimes marketing is really backwards.

Sometimes it feels like nowadays music is just based on how marketable it is.

I feel like there were people in the past that I’ve worked with and before I even wrote the song we were discussing marketing tactics. And that just made me not want to write the song because it gives you so much anxiety like this has to complete this and do this and that before it’s even, you know, been born. And I think again, with the whole killing an artist’s creativity, I do think there’s a beauty in wanting to do what you love as your job. I think everyone who wants to make music should be able to do that and survive. But there’s this whole system like you’re either a superstar and you’re rich or you’re starving.

And that alone, that fear, of putting all your work and energy and time and love into a project and not receiving anything from it… it’s criminal in my opinion. It doesn’t just kill your creativity. It kills your will and your love for music. That’s what I was just going through. I was focusing so much on release, release, release that I was like I don’t even want to do this anymore. Do I even want to do music? That’s so crazy. Music will always be part of my life, but that mindset made me question it.

So when you’re writing your music, are there any artists who influence you the most?

I grew up listening to all different kinds of music so let me look at my playlist… There’s an artist that I just discovered. I was scrolling through Tik Tok and they were singing and it was so beautiful. They’re name is Leith Ross, let me text it to you. I’ll actually text you the track, because it’s so good. But basically I’ve been listening to a lot of artists where their music is more conversational or more personal and raw. So even if I don’t directly relate to that experience, hearing them talk about what they’ve been going through, again is that idea of it’s okay to feel this and if this is what you’re going through, you’re not the only one.

I feel like you hear so much of this idea of I partied until 3am last night and now I don’t remember my name! Or I have all this money and I don’t know what to do with it! And in this world, especially right now, it’s just not relatable and it can give people an unrealistic world view and then they get dissatisfied with their own lives like “I’m not clubbing on a Tuesday night so I must be doing something wrong”. But I’ve seen this kind of revolution, of people romanticizing mondanity and the little things in life. And we’re shifting from instagram baddie culture to just I am who I am and I love that. I’m just in my little house, cooking my little things, but life is great! So that’s what I’ve been drifting towards.

Lizzie McAlpine is a really great example of that, and obviously I listen to songs like SZA and Frank Ocean, Chloe and Hally I’ve been listening to a lot. Also a lot of Arlo Parks and Hayley Williams also just dropped an album. So that’s what I’ve been listening to now, but if you want to make this a point then I can literally bop to almost anything. I would say expect country, but I like Kacey Muscgraves. But yeah, I listen to a lot. I think listening to a lot of music helps me write better music.

What’s the best advice that you’ve been given as an artist or do you have any advice that you would give a smaller or DIY artist just starting out?

I think it’s what we’ve been talking about.

It’s good to remember that just because you’re not famous now does not mean you’re not deserving of love and praise. Sometimes it’s just about the right person hearing your music and maybe not every song is meant to have a billion streams but I guarantee you, the right people will find it. And maybe someone who is really struggling heard your song and it made life a little more okay. We never know, but I think it’s better to think about it that way. Because the fact that you’re creating at all is really cool. Nobody can make what you make, so it’s like your duty to create.  

[arielufret]

Favorite Albums- from START to FINISH

I feel like we all have a handful of go-to albums that we can listen to without skipping a single song.  Not because we are lazy, but because we genuinely enjoy every track.  Albums to me are special because they (should) tell some sort of story.  I am going to list the ones that are on my go-to list.  Would love to hear what yours are!

No particular order! (I am going to try to remember to link to each of the albums via Spotify, too, so feel free to give these a spin for yourselves!) 

Switchfoot - ‘Hello Hurricane’  This one is special to me because even before hearing the first single, I got to hear the band play this album from start to finish live.  Its symbolism is impressive and creative, as its meant to represent an actual HURRICANE. The way the songs build and flow, it sounds like a storm rolling in... you can tell when you have made it to the eye of the hurricane and when the storm starts to subside.  If you haven’t given this one a listen, I suggest it.  Start at 1... no shuffle.  Go all the way to the end.  Then give me a buzz and tell me you don’t love it.  You won’t be able to. :)

Mumford & Sons - ‘Sigh No More’ This should come as no surprise to anyone who knows me... even if you just kind of know me.  This band can really do no wrong in my book, but ‘Sigh No More’ is a perfect album from start to finish for me.  The world would not be the same for me, personally, without each and every one of these songs.  I can’t say that for many other albums, if any.  It’s special and exciting when you discover an album that has that kind of impact on you. 

Jessie Baylin - ‘Firesight’ & ‘Little Spark’ I have Matt Nathanson to thank for introducing me to the absolute gem that is Jessie Baylin.  I love women singer songwriters and she is at the top of my list.  ‘Firesight’ is a bit more “pop”, but I use that term quite loosely.  I also do not think there is a single thing wrong with the term.  You will see that later in my list when I go FULL ON BUBBLEGUM.  The follow up (which I waited on with baited breath) was equally special and different, but in a way in which you can still listen to both albums shuffled together and its cohesive. Do yourself a favor.  Listen to these two albums.

Matt Nathanson - ‘Beneath These Fireworks’, ‘Some Mad Hope’, ‘Modern Love’, ‘Last of the Great Pretenders’, ‘Show Me  Your Fangs’ As you can see from the list here, this man can do no wrong in my book.  Not only did he introduce me to Jessie Baylin by bringing her out to open on a tour of his many years ago, but I’ll be damned if he isn’t one of my all time favorite songwriters/story tellers.  A live show from Matt is equal parts music and comedy show, and he does both parts with uncanny ability.  Over the last decade+, Matt Nathanson has provided me with endless hours of listening.  Some songs have pulled me out of myself for long enough that I can see things the way they should be instead of staying inside my own head and self destructing.  If that isn’t talent, then I don’t know what is.  Honorable mention: Live album, ‘At the Point (Live)’.

Tom Petty - ‘Full Moon Fever’ Here we have my first favorite album of all time.  It will always be special to me, as long as I have ears to listen to music or a memory of how special music is to me.  I was a whopping four years old when this album was released.  I stole it-- like legit STOLE it-- from my dad.  I still have it in my possession today.  He never got it back.  From the moment I heard it, it was like something inside me clicked ‘on’ and it never turned ‘off’.  For that, I will forever be indebted to the one and only, Tom Petty (& the Heartbreakers, of course).

Billy Joel - ‘Storm Front’ Again, this one is sentimental to me because it happened when I was just really discovering music and picking out  my own favorites.  My parents were in one of those ridiculous “CD clubs” where they would send you those sheets of stamps that you would go through and pick the 10 albums or whatever the number was that you wanted and they supposedly would charge you a penny or some ridiculous nonsense.  I was 4, so I didn’t understand what a pyramid scheme was, but I am sure there is someone out there searching for my parents to pay off their cd club debts to society.  Now that we have the back story-- there was a day my parents were look through their little CD cover stamps and I begged to have them let me pick a few for myself.  I was a spoiled brat, so of course they obliged.  My first choice was Billy Joel’s ‘Storm Front’.  Because of my obession with “We Didn’t Start the Fire”.  I wore that album OUT.  It also left me with a skill that not many others have (I have asked and literally no one I have met can beat me at this).... I can sing every. single. word to “We Didn’t Start the Fire”.  I am still holding my breath for an update from the 90′s to present.  Get on that, Bill.  I know you’ve got it in you!

Taylor Swift - ‘Red’ and ‘1989′ When you think perfect pop music, if you don’t think Taylor Swift, then I am not sure what you are looking for you in your pop music.  Love her or hate her (I know what I would say to the haters-- ‘Why you gotta be so mean’) you have to admit her songwriting talent is there.  And it doesn’t seem to be going anywhere, as she seemingly is getting better and better with age and experiences.  ‘Red’ was still when Taylor was in the country world but toeing into the wavy waters of full fledged POP.  They are both in my ‘driving albums’ rotation.  Perfect singalong at the top of your lungs material, especially if you are in a post break up, girl power mode (who isn’t always in that mode, though?)

One Direction - ‘Midnight Memories’, ‘FOUR’, ‘Made in the A.M.’ While I am on straight up POP, I have to discuss One Direction.  I grew up the the world of the boyband.  I was certain after the early 2000′s this fad would go away to return maybe never but certainly not with a group put together by Simon Cowell on a British competition show.  But... alas... HERE THEY WERE, right in front of my eyes.  Each of the 5 members of the band auditioned as solo artists.  They did not make it, but the genius of Simon Cowell said ‘Wait just a bloody minute!!!’, at least thats how I imagine it going down backstage.  And he pulled the 5 adorable youngsters together and said “SING AND DANCE AND MAKE THE WORLD LOVE YOU” and then they did just that.  They did not win the X Factor but considering they are one of the top earning groups of all time and no one knows who came in first that season, I would say they fucking WON.  In the process, they won my (much to old for this) heart and I have not been the same since.  Luckily, I have friends my age who think the same thing, and they are all of age now, so I don’t have to feel creepy.  Also, one of them knocked up one of the judges on the X Factor and she is older than me.  So, I suppose its all in good fun.  If you are ever in the mood for perfect pop, look up a One Direction album.  NO SHAME!  I promise. 

Taking Back Sunday - ‘Tell All Your Friends’ Now, for the emo section.  This album is high school for me.  Senior year.  It also reminds me of ex boyfriends from hell, which is not usually a welcome thing, but isn’t that what emo music is for?  Open up all of the wounds you thought you’ve licked clean and healed just to remind you what it means to FEEL something. Anything.  These songs aren’t all F YOU anthems to ghosts of girlfriends/boyfriends past, though.  Some are genuinely fun, at least for me.

Brand New - ‘Your Favorite Weapon’ In another emo nod to high school memories, we have Brand New.  Now, this band has beef with Taking Back Sunday and you can actually tell in their lyrics if you pay close attention.  See if you can find it!  Its fun!

Fall Out Boy - ‘Take This to Your Grave’, ‘From Under the Cork Tree’, ‘Infinity on High’, ‘Save Rock and Roll’ Here is another band that I have literally ZERO shame in admitting my love for.  Emo? Whatever. Who cares?  They have badass, long song titles that make nearly no sense with the song’s theme and it makes me love them even more.  Plus, just google for some leaked photos of Pete Wentz and then you can have that visual to go along with the tracks and think happy thoughts.  Dirty.  I know.  I am sorry.  Its late and I am not sleeping until I finish this list. Panic! at the Disco - ‘A Fever You Can’t Sweat Out’, Too Weird to Live, Too Rare to Die’ Another band with a flare for a killer, long, sometimes ridiculous song title.  The first album from this band is ALL sophomore year of college for me.  Just as wonderful and confusing as those days were, this album is all of that and more.  Their 2013 release is just as special to me, and the songs are just so good.  I don’t care what your preconceived ideas are on this band.... give these songs a whirl.  Their other albums are great too, but I do tend to skip a song or two when playing the album from start to finish, so rules being rules... I had to keep them from the list.  But some of those songs will land on a list of of some of my favorite songs.  So keep that in mind and give the full catalog a spin around the block for good measure.  Brendon Urie, while we don’t have access to cell phone photos of what is under his clothes, we do have the video for a song called “Girls/Girls/Boys” which is almost (maybe more?) satisfying in a nod to the D’Angelo video for “Untitled (How Does it Feel?)”.  YOU’RE WELCOME.

Howie Day - ‘Australia’, ‘The Madrigals EP’, ‘Stop All The World Now’, 'Live From.... EP’  As far as singer-songwriters go, Howie Day can basically do no wrong in my book.  I stumbled upon Howie in the beginning of my desire to learn everything I could about John Mayer circa 2001.  Thanks to that, I found one of my favorite artists of all time with Howie (he opened for John on some key dates in the earlier days of his career).  His debut, ‘Australia’ still gets regular play from me, as to his other albums. Howie had some radio success and VH1 love for a couple of singles, so you may recognize the tracks “She Says” and “Ghost”.  Now, my love for Howie isn’t just his boyish charm and great songwriting.  Its also that mother F’ing looping pedal.  The first time I saw him live, so many years ago.... I about had a heart attack.  I had never seen anything like it.  He was a one man music machine and I couldn’t get enough.  Now, if anyone performs with a looping pedal, I automatically compare them to Howie and they rarely stack up to his skills.  But I still fall for a man with looping pedal skills & an acoustic guitar, it never fails.   

John Mayer - ‘Inside Wants Out EP’, ‘Room For Squares’, ‘Any Given Thursday’, ‘Heavier Things’ Oh John Mayer.  Where do I even start?  Discovered just shortly before the blockbuster release of ‘Room For Squares’.  He gave me one of the greatest moments of my teenage life when I won upgraded tickets (front row) and meet & greet to his first big headlining tour. THANKS FAN CLUB!  That was also the beginning of the end for me and live music... spoiled rotten.  There are not many songwriters alive today that I can say I believe have more raw, indisputable talent than that of this human being.  Don’t even get me started on his guitar skills.  If you haven’t already spent some time with his catalog, I suggest starting from the beginning with these 4 suggestions. 

Not ALL of them made the list, but as artists before on this list it doesn’t mean that those unmentioned albums aren’t nearly perfect.  So give those a listen to, if you like what you hear from these suggestions.  They just might be YOUR perfect album.  Who knows!?

okay.... I am not done.  So stay tuned for more.  I will just be editing this post, not making a new one.  

[memories-and-music-blog]

Spotify Allows Users to Relive Memories With "Your Top Songs of 2016″ Playlist

There have been many instances in my life where I’ve been listening to music and somehow end up in the black hole that is Spotify.  Sometimes I end up listening to songs I listened to in elementary school, and sometimes listening to songs that I had listened to on repeat only a week or month earlier.  While going back and listening to archived music isn’t too weird of an experience itself, reliving the memories that these songs bring back can be.  Some songs in particular bring back very vivid memories that almost place me back in an exact moment in my life where the song was playing.  A few weeks ago I found out that in 2016 Spotify compiled playlists of each user’s most listened to songs and I was amazed when I looked through mine.  For nearly every song I could immediately think of the occasion(s) that I was listening to it.  The number one song, “Break Up In A Small Town” was of course because when the song started getting airplay on radio stations lined up with when I was going through a breakup and I thought the song was basically written for me, typical.  “Teenage Dirtbag”, number sixty-four, by Wheatus reminded me of closing shifts of my first job in high school when my coworkers and I blasted it while cleaning the store.   Number eighteen, “My Church” by Maren Morris brought me back to summer of 2016 when I was driving around in my company car for my job which was the highlight of every day.  While some of these songs bring back small memories of a certain experience, others have significant meaning and bring back some of the best and worst times in my life.

In high school many of my peers started listening to country music, but I was very anti-country until my senior year. Growing up I refused to listen to country because I had some notion that it was boring and only for people living in rural areas.  I thought all of it was gloomy, slow music about living on a ranch, sitting around drinking beer and riding horses.  However, I eventually started to get sick of all the music they were repeatedly playing on pop radio stations.  So, one day I was listening to the radio in the car and every one of my regular stations was on a commercial break, I flipped the channel and gave country music a chance.  It took a while for me to get over my irrational hatred for country music, but the first time I heard Keith Urban’s “John Cougar, John Deere, John 3:16” it was the beginning of the end.  I couldn’t stop listening to it and as a result ended up listening to country stations all the time just so that I could hear it again.  While I don’t exactly remember the first pop song I listened to, I remember, and will always remember, the first country song that I ever really listened to, and now any time I hear “John Cougar, John Deere, John 3:16” it brings me back to the car I drove in high school, my route to school, and the beginning of my love for country music.  To this day I listen to country music in my car with the windows down and sometimes while studying, and because this song reminds me why I like country, it ended up as number three on my most listened to songs of 2016.  

Even though I listen to country all the time now, none of the other country songs I listen to bring me back to the start of my country fandom.  One of my theories about why “John Cougar, John Deere, John 3:16” is the one song that takes me back to that time in my life is because it marked a transition in who I was as a teenager and my shift in taste in music from teenypopper pop to country and alternative.  The song is definitely country, but incorporates some aspects of pop and rock as well.  It has an upbeat tempo that could easily be tweaked and become a pop song and the drums and guitar allow the song to have a rock side to it as well.  If you had asked me five years ago I would have never thought that country could sound like pop and rock because I thought country was off in its own world.   However, I think that the incorporation of many different genres that I was already familiar with made it easier for me to realize that country can be a broad genre and wasn’t as bad as I thought.  “John Cougar, John Deere, John 3:16” will always hold a place in my memory for when I started to like country and how once I removed my block on country I was able to see why so many teenagers in my generation liked it so much. 

In the 1950s, rock music began taking the world by storm and became a favorite genre of the baby-boomers.  Growing up, the baby-boomers bought rock ‘n’ roll records to “assert generational identity through rebellion against previous adult standards and restrictions of musical style and taste” (Starr & Waterman, 244).  While country music in my generation isn’t necessarily a way for us to “rebel” against older generations, just like how Rock ‘n’ Roll became a part of the identity of the baby-boomers, I believe that country music is part of the identity of my generation in my area.  There are many outdoor concert venues within thirty minutes of my hometown, and in the summer many country artists perform there. This has led to an increase in the number of children that have been exposed to country music in my area, making it part of our identity.  Country isn’t as rebellious as Rock ‘n’ Roll, but it is a sign of youth as many of us have attended country concerts with our friends because they were our “safe and affordable way for kids to assert generational identity” just like Rock ‘n’ Roll was for the baby-boomers.  Once I started to like country music I was able to be more in touch with my generation and felt like I was doing high school “right”.  Just like how Rock ‘n’ Roll had its own “culture” with distinct rituals, fashions, etc. country has its “culture” as well.  Instead of black denim, and boots we have ripped jeans, cowboy boots, and American flag everything.  Starr & Waterman state that “it would not be an exaggeration to say that the 1950s essentially invented the teenager as a commercial and cultural entity and that rock ‘n’ roll music, along with television and, to some extent, movies, played an essential role in this invention.” (244).  Just like Rock ‘n’ Roll defined a teenager in the 50’s and 60’s, country defined a teenager in Northern Virginia just a few years ago. Without “John Cougar, John Deere, John 3:16” it is possible that I would have missed out on a big part of my generation that our kids, and our kid’s kids will be talking about, which is why it holds a special place in my memory, and why three years later it is still the first country song I play from my country playlist.  This song represents how one song can change your taste in music, and any time you listen back to that song it reminds you of that transition.

Another very significant song on my list is number nine, Nelly’s “Hey Porsche”.  While in California for a lacrosse tournament with UVA’s club lacrosse team, we were warming up for a game against Texas A&M which was at 10 PM west coast time, meaning 1 AM our time, which is a distinct memory because never in my life have I played a game in the middle of the night, and I probably never will again.  Whenever we’re warming up for games we tend to blast music from our speaker because it has the power to bring energy and confidence to us that we transfer onto the field.  Now, most of the time these songs do just that, but for some reason “Hey Porsche” did more.  My teammate threw it onto the playlist queue without telling anyone, and the second people realized what song it was everyone turned to each other and our energy went up ten times the level it was at before.  I’m not exactly sure why this happened, but I have a feeling that it is because none of us had heard the song since 2013 when it came out and it brought back memories of high school.  The song has a dance track flare to it with a beat that is easy to jump around to.  For the longest time I thought that it was released in the early 2000s when I was in elementary school because it sounds a lot like old Akon and Sean Kingston songs we used to listen to on the bus to and from school.  It wasn’t the lyrics of the song that brought us back to our childhood, but rather the mix of hip-hop, rap, and pop that was so prevalent in the early 2000s. The guitar and quick beat that was the perfect speed to put a little pep in our step mixed with our enthusiasm that came with the memories was key in getting us at a high energy level.  The nostalgia it brought back to when many of us started to play lacrosse and being in the highest level we will ever play created a lasting impact.  Once we got back from California we listened to “Hey Porsche” at practice, and I listened to it on my own mostly because any time we heard it it reminded us of California and one of the greatest weekends of our college careers so far.  When we first listened to it in California it made us all nostalgic for our childhood, and now and in years to come it will make us nostalgic for our California tournament and 1 AM game.

As described by David Suisman, “the business of popular song grew up in the shadow of musical “uplift”- the nineteenth-century idea of music as a means to elevate the mind, body, and character of individuals and the spirit of the nation as a whole” (20).  Not only did songs like “Hey Porsche” get me in an enthusiastic and excited state that one day on the field, but managed to bring that same state of mind anytime I listened to it and was taken back to California.  When looking for warm-up songs, the most important thing we look for is energy level, beat, and just how the song makes us feel in general.  Young adults at my age and adults our parents’ age alike have a part of themselves that gets nostalgic in a happy way when they hear songs that remind them of their childhood.  Whenever my mom hears a song from when she was young she immediately tells me and I can sense the excitement inside her.  It’s the same for me and my team.  Hearing songs like “Hey Porsche” that remind us of an earlier time in our life and bring us joy, with something as simple as the style and sound of the music, is a good thing to experience on the lacrosse field, and in life in general.  This song is a prime example of how one song among many can have a lasting impact because of the emotions it brings over the listeners and how well it fits into the given situation.

“Kill The Lights” by Alex Newell and DJ Cassidy (with Nile Rodgers)- Audien Remix is another memorable song from 2016.  Because club lacrosse is such a big part of my life it is no surprise that two of my most listened to songs were a result of my teammates introducing them to me.  One day at practice my teammate Lauren, who usually plays the music for practice, played ‘Kill The Lights” and after a few listens it became our team anthem for the Fall 2016 season.  Not only did we start listening to it at practice every day, but we also listened to it at all of our social events as well.  One very distinct memory associated with this song is when Lauren had a party in her apartment and because it was so crowded, my teammates and I decided to hide away in Lauren’s room to escape the madness.  By no surprise, the first song played was “Kill the Lights”.  Once we all heard the song come on we each raced to a part of the wall and got ready for our tradition that when the chorus comes on we all bang against the wall, floor, field, or whatever is nearby along with the beat.  This song became a unifying force on my team and had the ability to bring us all together for four minutes as a unified group despite the number of people that were around.  

Everyone says that college is the best four years of your life, and I believe that this is because it is when you’re first away from your parents, living on your own, and finally have the freedom to, for the most part, do what you want to do as an individual.  College is all about embracing your young age before you enter the real world as an adult.  In the 1950s, and 60s when Rock ‘n’ Roll was the music of the young generation, “Youth [was] riding tandem on a Honda motorcycle or walking the streets with a transistor radio. Youth [was] playing a guitar, drinking Coke, eating pizza. Youth [was] long hair and miniskirts, white lipstick and Clearasil.” (Taylor, 11).  For me, I think that “Kill The Lights” is one representation of my youth.  Banging against walls, being loud and rowdy in hotel rooms when it came on, playing lacrosse, all of these things will be a part of my young adulthood forever.  The power of this song every time I listen to it to bring me back to the time and place where I was carefree, happy, and enjoying my youth will never fade.  

Audien is a young producer that has created remixes on sound cloud for Bastille, Bruno Mars, and many other artists’ songs.  They have become extremely relevant as EDM has become a very present genre in today’s young music world.  While EDM is a main aspect of rave culture in many big cities, it is also spreading to some people’s day to day lives.  Artists such as the Chainsmokers and Major Lazer have become very present artists in my life because any weekend you go out with friends you are bound to hear a lot of EDM music.  “Kill The Lights” is unique in that it was originally more of an 80s dance songs but Audien turned it into a more electronic and youthful song. While the beginning of the song is similar to the original, the one aspect of Audien’s remix that is engraved in my memory forever is the enhanced beat that he added during the chorus that inspired our team wide wall-banging sessions and the way that he managed to increase the suspense right before the chorus so that when the beat drops your energy level skyrockets.  There is no doubt in my mind that simply because of the beat of the song and how it went hand in hand with many of the memories I have while listening to the song, I will never forget those memories.  Just hearing the bass drop puts me back on the lacrosse field or in Lauren’s apartment.  This song is an important indication that one song has the capability to make you remember important memories just based on the beat, and how that beat and the experiences you associate with that beat will never be forgotten.

I’m the type of person that when I hear a song that I like I listen to it over, and over, and over again.  Because of this, many of my top 100 most played songs from 2016 are mostly those that I probably listened to for at least a week straight.  These songs, however, probably wouldn’t have been my top 100 most listened to if it weren’t for Spotify and free music.  Many of these songs I first heard on the radio, from a friend, at a concert, etc. and immediately took a liking to.  With my generation we often listen to one song from an artist’s album and have never heard the rest.  Because of this, if I had heard any of these songs mentioned before free music was available, I probably wouldn’t have gone out and bought the whole CD and as a result would have forgotten about them.  However, because I was able to pull up those songs on Spotify and add them to my music library instantly, I was able to listen to them over and over again.  If you’ve ever heard of the idea that when you experience something and never relive the story in your head or tell the story to someone else you are likely to forget it, well music and memories work can work the same way.  If you hear a song and like it, but never think about it again in the near future you will probably forget about it, but if you listen to it again, and again, and again, like I tend to do, then the song and the memory of when you first heard it will be engraved in your brain together forever.  

A song doesn’t have to be music gold in order for it to have an impact on your life.  It can just remind you of friends, family, experiences, etc. with the beat, genre, or instruments and have a lifelong place in your mind and heart.  Lyrics aren’t always the most important part of a song, but the way that it fits into your experiences stylistically is more important.  None of these songs that I’ve mentioned are really anything special.  “John Cougar, John Deere, John 3:16″ is a classic country song, “Hey Porsche” sounds just like many other hip-hop/pop songs, and “Kill The Lights” probably sounds like many other EDM songs.  The difference is that each of these songs fit perfectly into the situation at hand when I first heard them and that was all it took to have lasting memories associated with them.  “John Cougar, John Deere, John 3:16″ had a mix of genres that was the perfect way to transition into a country music fan, “Hey Porsche” had the perfect mix of nostalgia and high energy to fit with the exciting 1 AM game, and “Kill The Lights” had the perfect beat drop that allowed my team to have a unique experience any time it dropped.  As a result of paying $4.99 a month, I have the ability to play through my music library and relive many good, and some bad, memories from my life.

RESOURCES 

Suisman. D. 2009. Selling Sounds: the commercial revolution in American Music. Cambridge, Ma. & London: Harvard University Press. 

Taylor, T. 2012. The Sounds of Capitalism: advertising, music and the conquest of culture. Chicago & London: University of Chicago Press.

Starr & Waterman (2013), Chapter 8: '"Rock Around the Clock": ROCK 'N' ROLL, 1954-1959'

Taylor The Sounds of Capitalism (2012) – Chapter 6 ‘The Discovery of youth in the 1960s’