SOMETHING OLD: 'My Lovin' (You're Never Gonna Get It)' - En Vogue

The plural vocal powerhouses, shall we call powercity, that is En Vogue. Full to the brim with attitude, sass and the kind of American slick which many since have attempted but never fully achieved. 

'My Lovin' makes you want to strut, makes you want to pout and makes you want to possess a wind machine just to fully encapsulate the oozing appeal of En Vogue's style.

The killer comes during the breakdown. Like the most incredible and credible barbershop harmony you've ever heard, if you don't get it, you're never gonna get it.

LISTEN/LOOK: http://youtu.be/Xpugp6DIb3I

CHECK OUT: http://www.facebook.com/envogue / @EnVogue

SOMETHING NEW: 'Leaving You' - Wolf Alice

Laid back, slack and breathy vocals start this track leading you somewhat mistakenly down the route of a country ballad which travels to this London group with its roots stuck hard in the deep south of America. But once the drums and slide guitar kick in, although still strong to those more country roots, it provides a fresh sound in the confidence defiance of leaving.
Not your average sad, blues, 'I'm a-leavin' the maaaayn' (my best raw accent there) but an anthem in strength 'I'm leaving you, it's been a long time coming'.

Three guys and a girl make up Wolf Alice and far from being country charlatans from the Big Smoke, it's worth checking out new single 'Fluffy', released next month. More rocky and almost reminiscent of those great bands of the 90s, proving girl-fronted guitar bands still rock.

LISTEN/LOOK: http://youtu.be/g_ZWEesFmOA
CHECK OUT: http://www.youtube.com/user/wolfalicevideos / http://www.facebook.com/wolfalicemusic / @wolfalicemusic

SOMETHING OLD: ‘Fire’ – Lethal Bizzle

Featuring a sample of ‘It’s A Shame’ with a little addition of extra drums and thicker bassline makes this track instantly one for summer driving.
Known as being a reliable addition to any live festival, I caught him for the first time at last year’s Boardmasters in Newquay and was blown away by his enthusiasm and getting the crowd in the palm of his hand from the first beat.

Many of his songs have a serious message but with lighter tones, sometimes actually humorous lyrics makes Lethal a refreshing change to many other artists within this British genre. ‘Fire’ follows a similar vein with the addition of a chorus everyone knows and can sing along to.

The best part of any rapper’s game is how easy they make their rhymes, and you can’t argue with Lethal’s loyal fanbase.

From the album ‘Against All Oddz‘ (2005) / @LethalBizzle

SOMETHING NEW: ‘Mama I’m Gonna Sing’ – EJ

There aren’t many songs that simply kick ass with just a vocal and drum. In fact, I can’t think of any in particular right now – except this downright incredible 1 minute 57 second track by EJ.

A husky voice dripping with soul with shades of Tracy Chapman perhaps, it breaks my heart along with my ears feeling cheated that this isn’t longer. It teases you to the point where you feel obliged to put the track on repeat at least 4 times to make it sound like the entirety of a song.

The drum beat is cheerleader-esque, much like the rousing and driving hypnotism of Beyonce’s ‘Run The World (Girls)’, whirling and tapping with hand claps and finger clicks – just try to resist shaking something along.

The relentless march beat stomps along with the lyrics, almost a protest song, telling her reluctant mother that she wants to sing when asked what she wants to be.  Even with this mere appetiser of EJ’s sound, Mama should be as excited as the rest of us to hear what else EJ has in store.

Single released 11^th March / @EJDATSINGS @ejupdates

SOMETHING OLD: ‘Can’t Keep Living This Way’ – Rootjoose

Rootjoose were a Cornish band who achieved local success after winning a Battle of the Bands contest with Capital FM. Releasing their music through their own funded record label was always going to be difficult, however the album ‘Rhubarb’ obtained a cult status as an uplifting, soulful collection of songs which captured the sunshine and high energy associated with the band – especially when playing live.
I first came to know of Rootjoose when we discovered their recording studio was on our holiday campsite. Random but true, an old airfield produced some great tracks – which unfortunately couldn’t compete with the leading heavier, more angry Britpop sound of the mid to late 90s.

A fantastic riff and Harry’s almost Jeff Beck voice tells us of a mundane life he wants to escape from – something as a teenager when this was released, me and alot of  my friends could identify with. Harmonies, sing-along chorus’, they were almost an older version of McFly before they were even out of school themselves.

The band split after being unable to get a record contract after their own went bankrupt. ‘Rhubarb’ however remains one of the albums I most fondly remember from growing up, I can’t help thinking with more money and more marketing Rootjoose could have been something really big.

From the album ‘Rhubarb’ (1998)

SOMETHING NEW: ‘Mexico’ – The Staves

Is honey-soaked harmonies a too sweet description? You know what, I don’t care, because that is what you get from this absolutely beautiful track from three piece folk band The Staves.

Very Joni Mitchell, very Laura Marling, whoever else you want to compare them to, they do essentially bring their own sound to the forefront and you will lose yourself in those harmonies. Easy listening, but not in the sometimes demeaning sense of that genre, you can so easily close your eyes in be immersed in where the song takes you with its simplicity and haunting vibrations.

Currently providing support for The Civil Wars on their American tour; I sincerely hope to see them live back in Blighty at some point this year – preferably somewhere like the Eden Sessions, where their sound could in anyway be equalled, complimenting the setting of a summer’s gig or festival. That, is where this sound needs to be heard!

From the EP ‘Mexico’ (2011) / @thestaves

SOMETHING OLD: ‘Trashed ’ – Skin

Today’s choice was nearly from Skin’s band Skunk Anansie, but I’ll save that treasure for another week and whet your appetite for her utterly beautiful and sometimes venomous vocal with this solo track.

For me, one of the very few artists who could have such a soulful yet raspy rock voice and yet the sincerity of hurt and anger – all in even just this song! The underlying vocals on the bridge and last chorus particularly haunting and poignant in such a sad track.
The production is in a similar vein to the work of her band: those heavy, dirty drum beats and evocative, subtle guitar melodies.  Co-writing all her songs, you can’t help but think she has been through a situation which led to the inspiration of each one – ‘Trashed’ itself signals the end of a relationship, the bitterness, pain and reluctance to attempt to carry on felt in every note.

One of the defining female voices in what was the fundamentally male-dominated Britpop movement, Skin’s vocals both as part of a band and as a solo artist showcase not only the most raw emotions but also a raw talent – something unfortunately you don’t get to see so often anymore.

From the album ‘Fleshwounds’ (2003) / @skinskinny

SOMETHING NEW: ‘Metaphors’ – Keaton Henson

Keaton Henson appears a self-effacing character; his thoughts on his music and how it scares him to think that other people will hear it, is both refreshing and unheard of in today’s music industry. Even his style of singing and basic, unproduced tracks are unassuming but incredibly powerful in lyric and emotion.
An artist in both forms of music and drawing/painting, he sold a lot of his artworks to fund studio time to record his material – with this particular track coming from a limited edition 7’ of 500 copies. So, thank goodness for YouTube, we’re able to seek his back catalogue and forthcoming releases – despite how much the mass listening audience may freak him a little.

‘Metaphor’ is a contradiction in that by describing metaphors he wouldn’t use to highlight her beauty, he does in fact do so.  Yet no metaphor could compare to the way she looks at him. A warm, rich and Autumnal piece of guitar mixed with the sometimes slightly off-key and quivering vocal makes for a wonderful track, in which such rawness simply adds to the authenticity in its meaning.

From the 7’ ‘Metaphors’ (2011) / http://www.keatonhenson.com/

SOMETHING OLD: ‘Buck Rogers’ – Feeder

One from my youth to bring in the New Year – well, A-Levels still feels like some sort of youth! This is one of those anthems, yes I consider it big enough to be called an anthem, when as soon as you hear the opening guitar bars you can’t help but smile – mainly because you know what riff is round the corner.

The song is about his partner leaving him for ‘Buck Rogers’, who is the guy with the Jaguar and all the materialistic things, and trying to win her back – ‘I think we’re gonna make it’ makes the chorus which you can’t help but sing along to.
Feeder are one of those bands you don’t realise how many of their songs you know until you stick one of their albums on, or take a look on YouTube. For me, instantly likeable, with some great songs in their back catalogue. ‘Just A Day’ being one which nearly got in this place on the ‘Something Old’ blog entry.

I have my Isle of Wight Festival tickets and I can’t wait to finally see Feeder live, and once that chorus kicks in – be taken back to my 6^th form common room. I’m practising my jumping already.

From the album ‘Echo Park’ (2001) / @FeederHQ

SOMETHING NEW: ‘Age’ – Lianne La Havas

Fresh into the New Year with a gorgeous song from a lady I first saw on Jools Holland’s show back in October. Alone in the spotlight with her guitar she played and sang this song so effortlessly, and once again it was the sheer simplicity which completely hypnotised me into the performance.

Recently nominated in the BBC’s Sound for 2012, Lianne hails from London with a Greek father and a Jamaican mother. Jill Scott, India Arie, that laid back, soulful vocal collective of women are clearly an influence but Lianne certainly carves her own style into the genre.

A slightly tongue in cheek song about age, her affections for an older man and how this maybe frowned upon. ‘Is it such a problem if he’s old? As long as he does whatever he is told.’ Girls, you gotta love that, right?
Fresh from a December tour of America supporting Bon Iver, who was bowled over by her performance when appearing on the same Jools Holland show; I hate to coin a phrase but this time I mean it - for me, Lianne Le Havas is ‘one to watch’ for 2012.

From the EP ‘Lost & Found’ (2011) / @liannelahavas 

SOMETHING OLD: ‘Two Princes’ – Spin Doctors

Oh come on, a classic from the 90s, covered and moderated over the years – there’s nothing like singing along the ‘Two Princes’ scat (do I attempt to type it?) ‘yyyyeeaaahahahaadobadipadobadoob....’ er, yeah, you get the idea.

An extremely uplifting song which I’m sure brings your own memories, mine would be listening to this on my Sony Walkman as my parents drove us down to our Cornish caravan. As soon as I hear that rolling drum intro into the memorable guitar riff, I’m there.
I’ll be honest I’ve never really thought about the words, what they mean etc, which is rare for me but in light of this it is a fine song however deep you want to get into it.

The Grammy Award nominated vocal no less by Chris Barron creates a perfectly formed pop song, with him wearing a Dappy hat in the video – no doubt years before Dappy was even in nappies. Reminisce your 90s with some crazy good guitar licks and perfect that scat for some old skool memories of better music years gone by.

From the album ‘Pocket Full Of Kryptonite’ (1991) / @SpinDoctorsBand

SOMETHING NEW: ‘Berlin Song’ – Ludovico Einaudi

So 2009 may not count as completely new, but still just about comes in my 2 year rule of being ‘new’. And this choice is allowed to break any restrictions I may have laid before.

Much like my mantra that folk shouldn’t remain strict with listening to one genre of music, this week I’m throwing out there this absolutely gorgeous piece of classical music by Italian composer Ludovico Einaudi. My love for this song originally stemmed from it being used in the brilliant This Is England ’86 series, so I guess watching the most recent series this week reminded me of this track.

Whether you’ve heard it before in the program, or its use in other films, if you can’t associate it with a particular scene then it almost compels you to write your own. Haunting, subtle and incredibly moving, you could even say at this time of year and with the weather we’re having it even suits so wonderfully down to that. 
The melody throughout is surprisingly uplifting despite the somewhat darker sounds of the chords and undertones. The reverb on the piano adds to this, especially with the higher, lighter notes. It’s not surprising Ludovico’s work has been used in films, TV and advertising campaigns, for an instrumental to evoke such emotion, I won’t lie, it could sell me anything.

And a word to the wise and the greater music fan, please don’t listen to this in those pesky earphones Apple provide you with. It’s worth the awe and audio lushness of a proper set of full headphones to appreciate that full effect of a song completely washing over you. Ooh, get me!

From the album ‘Nightbook’ (2009) / @LudovicoEinaudi

SOMETHING OLD: ‘In The Deep’ – Bird York

Probably mostly recognised from the Oscar winning film ‘Crash’, ‘In The Deep’ was in fact part of an album made many years before the release of the film.
Singer Kathleen Bird, performing under her stage name Bird York, has the most effortlessly beautiful voice. Almost whispering through the track, no emotion is lost as she retains every word within the ‘underwater’ production of what is a truly sublime song.

It’s the subtle additions, the keys on the piano sound like they’re barely being touched – much like Kathleen’s voice where it’s the very softness which turns out more powerful than any belted out note.

Lush and rich in colour and emotion, if you’ve seen the film you’ll appreciate its meaning and its worthiness for the Oscar nomination in song category. If you haven’t seen ‘Crash’, then I’m sure after listening you’ll appreciate ‘In The Deep’ for what it is, an exquisite piece of music.  

From the album ‘The Velvet Hour’ (2003) / @birdyork

SOMETHING NEW: ‘Pelican’ – The Maccabees

What promises to be the festival song of next summer (yes I know it’s ONLY December) but a song that instantly great which makes you think about jumping around in a field with strangers with no regard for spilling your cider, is the perfect pick-me-up for cold mornings.

Stabbing guitars get your feet tapping before the glorious harmonies mix into the chorus and really there’s no stopping you shaking everything else. Starting as one tempo and building into another, it’s not always clear where the track is going to go next – but that’s no bad thing.

There’s almost a hint of menace with the haunting layered vocals, until that guitar returns and it picks up the pace once more – bringing more than an appreciative grin to your face. The structure starts simplistic but brings us to a more than gratifying finish so you’re able to catch your breath.
Now just picture yourself amongst the masses listening to this one live....is it the summer yet?!

From the forthcoming album ‘Given To The Wild’ (2012) / @themaccabees

SOMETHING OLD: ‘How Come You Don’t Call Me’ – Alicia Keys

A cover of an old Prince b-side, in fact the b-side to his hit ‘1999’, Alicia Keys takes on the might of the little genius making it accessible for the new generation with a little help on production by The Neptunes.

As a massive fan of Ms Keys it would probably seem strange to pick a cover rather than one of her own tracks, but she puts a grand piano sized stamp on this one. The sass, soul, attitude and effortlessness of her vocal drips through the speakers. The music video showcases this one live too, which I was lucky enough to catch for myself at the smaller venue here in Plymouth before she got the worldwide fame we all know her for now. It blew me away.

Alicia has no need for the vocal gymnastics of some of her musical colleagues, if you sing a song with genuine emotion – in this case especially, singing someone else’s song to adjust it to your own situation, then the word ‘cover’ seems a dirty one.  

From the album ‘Songs In The Key Of A Minor’ (2001) / @aliciakeys

SOMETHING NEW: ‘Out In Bold’ – Giovanna

A haunting vocal and production seems fitting for a frosty Monday morning, simply gorgeous, Giovanna is completely different to anything else that’s out there at the moment. If there was only one comparison it would be to the equally sublime Lana Del Rey.

What sounds like a simplistic construction of a song, upon further listens (and believe me, you will want to listen over and over) the layers compliment each other with Eastern sounding drum rattles and dark harmonies – including a piano loop and rolling bass which suggest experience and years older than Giovanna more than likely is.

A fresh and exciting talent and polar opposite to the loud, dance, dubstep etc we find female artists associating themselves with in the chart at the moment. This sound is subtle yet intense, and with an EP due in early 2012, it sounds like the year to listen out for Giovanna Marshall.

From the forthcoming EP ‘Shaky Ground’ (2012) / www.myspace.com/giovannamarshall

SOMETHING OLD: ‘Monkey Wrench’ – Foo Fighters

So many songs I could easily pick from the Foo’s back catalogue to be a classic ‘something old’, they may yet to feature in the ‘something new’ category also – still making anthems some 15 years after the release of this one.

‘Monkey Wrench’ follows your instantly recognisable Foo recipe of driving guitar riffs (which you can try but fail to not air guitar along with), insane drums (actually played by Dave Grohl on this song not regular Taylor Hawkins), and Grohl’s shouting but still melodic and emotion powered vocals, make this not just a classic of theirs but surely also of modern day rock itself. Woah, get me.

I believe the song was written about Dave’s marriage breakdown, which despite the angry lyrics, the melody itself is pretty uplifting – to the point where you can’t help but jump if you’re lucky enough to catch them live when they do this track.  The anger does reprise particularly in the middle eight where there’s a pure shouty rant which ends with ‘I was always caged, but now I’m free’. The frustration but absolute release from this moment brings us effortlessly back to two more chorus’ and the perfect instant rock finish.

From the album ‘The Colour and the Shape’ (1997) / @foofighters

SOMETHING NEW: ‘First Of The Year (Equinox)’ – Skrillex

Before you listen to this track, you may want to tie down all precious items and move your Monday morning coffee away from the speakers because quite frankly the dub bass may well make you spontaneously combust. How about THAT for an intro to today's choice?

What starts off as a intriguing beat incorporating some superb vocal mixing and switching merely prepares you for when the beat drops. Building the anticipation, I personally absolutely love the mixing of electro with the sound of live drums – you know this is going somewhere very good indeed.
A dark sense of menacing filters through and then the dub sticks it to you, right between the eyes - best heard either obnoxiously loud over speakers or in your own personal euphoria of a decent seat of headphones.

Skrillex has become my jogging buddy, especially for hill runs, there’s not much more required for a blood pumping, adrenalin thrusting package of 4:22. The podcast set mix he did for Zane Lowe recently is a must.

From the EP ‘More Monsters and Sprites’ (2011) / @Skrillex

SOMETHING OLD: ‘Aerodynamic’ – Daft Punk

From one of my favourite dance acts, although this probably being not one of the more well known songs from the album – that being ‘One More Time’ or ‘Digital Love’, however this track gets a nod for the guitar riff throughout and most impressively the one halfway through.

Mixing the old with the new, the drum loop reminisces back to almost sounding like it’s from an 80s hip hop rhythm, Daft Punk expertly and seamlessly thread all these parts together to make one almighty tune. Almost to the point where you couldn’t ‘genre class’ the sound they create.  Impressive stuff and timeless in sound, despite being 10 years old.

If you never thought you’d be air-guitaring to a French house song then don your beret and dust off your Gibson.  ‘Laissez-rock!’

From the album ‘Discovery’ (2001) / @DaftPunkNews

SOMETHING NEW: ‘Not The Only Person’ – The Rumble Strips

So I wouldn’t classify this as a completely new song, being 2 years old but I’m opening up to the fact you may not have heard of the band before. Undoubtedly their biggest hit ‘Girls And Boys’ you would have heard in episodes of ‘The Inbetweeners’, the film ‘Run Fat Boy Run’ or most recently the Baileys adverts, but this track for me turns the simplistic into the epic – with a little help from Mark Ronson.

Lead singer Charlie Waller has an impressive range of vocal and the song itself is sung in humour based on an evening in London when muggers were foiled by his wife. Almost apologetic to the criminals he even offers to come back later so they can complete the mugging.
As in true Ronson style, although no horns in this section, it retains a 60s vibe in terms of guitars and drums, building to the massive chorus which truly showcases Charlie’s storytelling vocals. Think The Byrds in terms of instrumentals.

The pinnacle comes in the final chorus when the stabbing strings reach the dizzy heights of epic-ness – translated perfectly by the accompanying promo video. An epic in itself from the quirky Devonshire lads.

From the album ‘Welcome To The Walk Alone’ (2009) / @RumbleStripsUK