The Music Note

I should begin this post by admitting that I am not a fan of Jason Mraz's latest album Love Is A Four Letter Word .  Aside from two or three tracks, this album just hasn't captured me in the way the previous three studio albums (which I still listen to regularly) have.  Though the huge commercial success of 'I'm Yours' gave Mraz much deserved recognition which was long overdue, it also appears to have shaped this album. It seems that with Love Is A Four Letter Word , Mraz has found a formula that works and stuck with it, as the easy listening influences of of 'I'm Yours' runs throughout the album.  I may be biased as I've never liked 'I'm Yours', but all the same I feel the quirky lyrics and varied genres that made the first three albums - particularly Waiting For My Rocket To Come and Mr. A-Z  -  so unique are severely lacking on Love Is A Four Letter Word . Despite not exactly loving the latest album, I was still excited to see Mra

Though I was excited to be seeing one of my favourite band's play live, I attended The Killers' two gigs at London's O2 last Friday and Saturday with an open mind. Just days before, the band were forced to cut short their show at Manchester's MEN Arena after four songs, following Brandon Flowers' complaint of a sore throat.  Consequently, Flowers' vocal problems resulted in the band having to cancel the following night's show.  Upon reading this news online last Wednesday - just a few days before the O2 gigs - I was disappointed at the number of comments criticising Flowers, many saying that a sore throat is not a good enough reason to finish a set early/cancel a show.  While I can see how a sore throat may sound like a minor problem, as a vocalist myself, I know that in some instances it can be a sign of major vocal problems, such as laryngitis or nodules.  Yes, these problems may not be as common as cold or flu, but sometimes it just isn't worth tak

'You Make Loving Fun' -  the fourth and final single to be released from 1977's  Rumours - is not only a great pop song, but a fine representation of the musical era from which it came.  Aside from rich, melodic verses, it's the chorus that makes the track so joyous - Christine McVie's vocals glide effortlessly over a funky groove, perfectly timed against harmonic backing vocals.  The result is a glorious, uplifting sound, which is further enhanced by Lindsey Buckingham's impressive guitar work.

Last night, I watched the fourth instalment of Josh Rouse's Late Night Conversations  concert series, hosted by Stageit .  This edition has been my favourite of the series to date.  Not only was the setlist comprised almost entirely of early to mid Rouse material and rarities (aside from two brand new tracks), but a lot of my personal favourites were played, which I find pretty cool in a set list spanning a 30 minute show.  Not only that, but Josh finally played my song request of 'Sad Eyes'!  But more on that later... Josh opened the set with 'Late Night Conversation' and 'Michigan', followed by 'The Whole Night Through'.  I felt this trio of songs were a perfect start to the show, appropriately setting the autumn theme for what is the October edition of this concert series.  Josh played harmonica throughout 'Late Night Conversation' which was a lovely touch.  I was especially thrilled to hear 'The Whole Night Through' - it

I've been listening to this album a lot recently.  I was unaware of its existence until last month when I stumbled upon it whilst browsing iTunes .  As a big fan of Everything Everything, I knew this EP - featuring nine of the original eleven tracks from their debut  Man Alive , played live at London's Roundhouse - was a must-have download. The best way to describe this EP would be to say that it's a 'louder' version of Man Alive .  If that's possible.  Crazy hooks, clashing synths, falsetto vocals and totally random lyrics - pretty much all of the qualities that made Man Alive  such a uniquely addictive debut - are all present here, just on an enhanced level.  From listening to the EP, it's clear that the band make for a great live act and though all the instrumentation is tight, the backing vocals are particularly impressive. I think the most noteworthy track here is 'NASA Is On Your Side'.  Jonathan Higg's lead vocals work beautifully

If there is one song on The Killers' latest album  Battle Born that indicates a return to their former sounds pre- Day & Age , then 'The Rising Tide' is surely it.  Opening with an impressive 40 second electro infused intro that wouldn't sound out of place on debut  Hot Fuss , the track then evolves into a surge of rocking guitars, powerful vocals and atmospheric lyrics, reminiscent of the Springsteen influence that was ever so present on 2006's Sam's Town.  ' The Rising Tide'   has all the qualities of a future single, and is one of the standout tracks on what is admittedly a grower of an album.

Last night, Josh Rouse delivered the third instalment of his Late Night Conversations concert series, hosted by Stageit .  Unlike the last two shows in which he was joined by Caio Bellveser on piano and bass, this September edition saw Josh perform the entire set solo.  However, much to the delight of fans watching, the format of the concert remained the same, with Josh playing a varied setlist comprised of new material, tracks from previous albums, song requests and rarities - all played live from his home in Valencia, Spain. Josh opened the set with two new songs - 'Western Isle' and 'City People, City Things'.  Both tracks sounded good, but I particularly liked 'Western Isle' .   Though it's always difficult to give an opinion on new songs, not just because this is the first time I've heard them, but if these tracks do feature on the new album, they are bound to sound different if played with fuller instrumentation, compared to just an acousti

On this day five years ago, I saw John Mayer play at the Royal Albert Hall, his second of a two night stint at the venue.  At the time, it was my third time seeing him live, and even now after nineteen shows, this still remains as my favourite ever concert of his. I had attended the first RAH show on the 17th, and though it was a great gig, I personally thought this performance on the 18th outshone the first by far.  Firstly, the atmosphere was miles better - the crowd seemed more invested in the gig, everyone was up on their feet singing along, and just generally more into the music than the first night.  I was lucky enough to be third row centre on the 18th, so being this close to the action would inevitably make for an amazing crowd atmosphere as well. However, it was the setlist and overall musicianship of Mayer and his live band that made this such a unique performance.  As Continuum had been released the previous year, Mayer's tours around this time were based mainly ar

The Killers played three intimate shows in London this week, starting with the HMV Forum on Monday for a Radio 1 gig, followed by the iTunes festival at the Roundhouse on Tuesday and finally, an appearance at Koko on Wednesday, which was being recorded for Channel 4's London Live Series.  These gigs gave fans who were lucky enough to win tickets, the opportunity to see a band more used to selling out arenas, play in such small, intimate venues.  Though I was not successful in winning tickets for any of the shows, a fellow member of The Killers fanclub - The Victims - had a spare ticket to the Koko gig, which he very kindly gave to me.  Thank you, James! As this show was being recorded for TV, the set was shorter than a standard gig - the band came on stage promptly at 8:00pm and were finished just before 9:00pm.  At almost an hour in length, the setlist inevitably consisted of the band's most well known singles (no previous album tracks here) along with four songs from 

I went to Guilfest yesterday.  It was my first time at this festival (though I love going to gigs, I'm not much of a festival goer, unless there is a band/artist playing who I really like).  Since the headlining act was Bryan Ferry and the festival is local to me, I felt this was definitely a must see performance.  On arrival at the festival, I could not believe the amount of mud.  Yes, I know it has been raining here constantly for what seems like months so I should have expected it, but the mud was pretty hardcore.  In all my festival naivety, I turned up in my favourite pair of Converse (to think I almost wore ballet pumps).  Luckily, there was a stall selling wellies, so my friend Mike and I snapped some up.  Here is a picture of the hideous  pair I bought.  Seriously though, these wellies saved us. However, the music more than made up for the mud, and Ferry put on an amazing performance - his tour band really are fantastic, and on this occasion they were joined by Jo

I watched the second instalment of Josh Rouse's Late Night Conversations concert series on Stageit last night.  Once again, Josh delivered a fantastically varied setlist in which he played a wide range of tracks from previous albums, debuted a new track and took requests from the audience.  This time round, the sound quality was again very clear, aside from a slight delay at the very beginning, which was resolved within the duration of the first song. Accompanied by Caio Bellveser on piano, Josh opened the set with a beautiful rendition of Bluebird St. (Caio joined Josh on bass for the remainder of the show).   An equally impressive Streetlights followed, in which Josh played harmonica in the into and middle 8 sections.   This is one of my favourite Rouse songs to hear live, it works so well played both acoustically and with a full band, and on this occasion I felt the harmonica added a nice touch to the intro.  Next up, Josh played a new track - Our Love (recorded with Br

Taken from Guster's sixth studio album Easy Wonderful , That's No Way To Get To Heaven is, in terms of arrangement a simplistic, yet powerful song.  I like how the instrumentation is layered; the track starts with just guitar, but further elements are gradually introduced at key moments of the song's progression. The appearance of piano and vocal harmonies in particular, add a lovely warmth to the overall production of the song, and with lines of "One half of me is still shaking / The other half is still waiting for a lover", the clarity and strength of Ryan Miller's lead vocal is evident throughout.

The Killers have released a trailer for their upcoming album  Battle Born .  The album, due for release in September, is the follow up to 2008's  Day & Age. I'm looking forward to hearing more previews of the album in the coming months and hopefully, the band will announce new tour dates soon! It's been four years since  Day & Age , so I'm very excited to hear new music from one of my favourite bands.

Hot Chip's new album In Our Heads  is released on June 11.  However, the follow up to 2010's One Life Stand  is currently streaming over at npr.org. The album can be heard in full here . I've listened to the the entire album a few times now and so far my favourite track is Don't Deny Your Heart  - I'm loving the 80's synths on this track.  The chorus is great too, fast paced and totally addictive.

Josh Rouse has just announced a new Stageit show for Sunday June 24.  He tweeted that he would be premiering new songs.  His previous show was awesome, so I am very much looking forward to this one. It looks like these concerts, known as Late Night Conversations , are going to be a regular thing.  Great news for fans! Tickets are once again being sold on a 'pay what you can' basis and can be purchased here .

John Mayer's 2006 album Continuum is generally regarded as being his finest work to date.  Though 2003's  Heavier Things  is my personal favourite, Continuum is a fantastically produced album, full of well crafted songs which not only demonstrate Mayer's flair for song writing, but also his undeniable talent for playing a guitar.  Whereas Heavier Things touched upon blues in places   (most notably on  Come Back To Bed ), the genre is present throughout on Continuum , backed up with elements of pop and soul. The soul influence is evident on the politically driven  Waiting On The World To Change ,   an upbeat song which made for a perfect lead single with it's catchy lyrics, complete with an even catchier middle 8 vocal breakdown and guitar solo. The political theme is also present on Belief , one of the album's strongest tracks, which is powerful both instrumentally and lyrically.  Wonderfully melodic guitar hooks are complimented with lines of "Belief is

I watched Josh Rouse's online Stageit concert  last night.  I had never watched a show through Stageit prior to this, but it was a fun experience.  The sound quality was great - really clear with very little distortion, and there was a live chat window, where fans could communicate with each other, as well as request songs for Josh to play. Josh opened the set with two new tracks - A Lot Like Magic and Simple Pleasure . I liked these songs, both had catchy, upbeat melodies, which I found myself tapping my foot and swaying along to.  For the remainder of the show, Josh played a variety of tracks from previous albums, in addition to taking requests.  I noticed that lots of people were requesting songs from Nashville , with some people even suggesting he should do a show where he plays  Nashville in it's entirety (not only is Nashville  my favourite, I like the idea of dedicating a show to a an entire album in general, especially for an artist like Josh, who has such a

More Than This  was the first single to be released from Roxy Music's final studio album, Avalon , in 1982.  Not only is it one of my favourite Roxy tracks, I also think it's the song which best represents the band's transition into the smooth and more polished sound which was so present in their later work.  Bryan Ferry's vocals blend effortlessly through verse and chorus, with lines which contribute to the atmospheric feel of the track - "Like a dream in the night / Who can say where we're going...Why the sea on the tide / Has no way of turning".  Just as impressive is the instrumental outro, which, led by lush synths and layers of guitar, more than makes up for the absence of vocals in the final few minutes of the song.

Photoshop Handsome was the third single released from Everything Everything's addictive 2010 debut, Man Alive.   Falsetto vocals deliver random lyrics which are, at times incoherent and for the most part, don't make a whole lot of sense. However, this really doesn't matter as the music is so amazingly energetic and fast paced, there isn't much time to ponder over lyric meanings.  This, along with enthusiastic instrumentation, creates a track that is unique, adventurous and overall, a joy to listen to. "I will gain an extra life..."

Today, I was excited to hear that Josh Rouse is teaming up with S tageit , to play an online concert on Sunday May 20.  The show is taking place in Valencia, and according to Rouse's website , he will be playing at least one new song, as well as older material.  He will also be taking live requests, which is very cool. The concert is the first in a possible series, called Late Night Conversations . I think this is such a great idea.  I'm looking forward to hearing new material as well as songs from previous albums.  It will be interesting to see which tracks get played as a result of the live requests too! Tickets are available here , and are being sold on a 'pay what you can' basis.

Hearing the new Passion Pit single yesterday, got me in the mood for listening to their debut Manners  on the way into work this morning.   To Kingdom Come is my favourite track on the album.  I love this song.  I could have it playing on a loop, countless times and I wouldn't tire of it.  It's blissfully melodic, with sweeping synths throughout.

Passion Pit's new single Take A Walk, the first release   from their upcoming album Gossamer,  is now streaming on the band's website.  I've had a few listens so far, and feel the track is a definite grower.  The song is upbeat and anthem-like, with marching choruses.  The band's signature synth hooks, which featured so heavily on their 2009 debut, Manners, are also present here. Gossamer  is released on July 23.

Josh Rouse is a singer-songwriter who I feel is truly underrated.  I first discovered Rouse's music in 2006, when a friend sent me three albums of his - 1972, Nashville and Subtitulo.   Admittedly, it took me some time to appreciate how good his music is, but after gradually downloading his back catalogue (he has just released his ninth studio album), I realised how much I had grown to love his work.  His songs have a timeless, classic feel, with beautifully crafted lyrics.  I now consider Rouse to be one of my favourite, and most played musicians in my music collection. What I admire most about Rouse, and what I feel sets him apart from the average singer-songwriter, is the way in which he experiments so freely with different genres in his music.  Each of his studio albums touch upon varying themes and concepts, meaning that no two of his albums could ever be accused of sounding the same.  This creates an interesting and exciting listening experience for fans.   Rouse&

"So don't treat me like a puppet on a string" sings Bob Marley, in what I feel to be one of his more underrated tracks (if you can even call it underrated, maybe less played would be more appropriate).   Waiting In Vain is a beautiful love song with simple, yet emotionally direct lyrics, that are complimented with reggae beats and a lingering guitar solo.

The official music video for John Mayer's Shadow Days was released today.  I feel it is an honest reflection of the song - the images and overall direction of the video work well with the lyrics and instrumentation.  I have found some of Mayer's previous videos to be forced and unnatural in places, but he genuinely seems to be in his element in Shadow Days.   I like it almost as much as the Clarity video. Counting down the days to  Born and Raised!

I'm very sad to hear today that Tommy Marth, saxophone player with The Killers, has died aged 33. Marth played on   The Killers' 2006 album Sam's Town and it's 2008 follow-up Day & Age.   He also toured with the band in 2008 and 2009, and features in the live line-up on the Live from the Royal Albert Hall  dvd, released in 2009. The Killers have paid tribute to Marth, writing on Twitter: "Last night we lost our friend Thomas Marth. Our prayers are with his family.  There's a light missing in Las Vegas tonight.  Travel well, Tommy." This is such devastating news.   Day & Age is my favourite Killers album, mainly because I love how much saxophone is featured on many of the tracks. The songs on this album are great anyway, but the sax really enhances the production, and also marked a new sound for The Killers.  I was fortunate enough to see many of the live shows from the Day & Age era, and thought Marth was a fantastic addition to the l

Release Me is my favourite track off Jack's Mannequin's latest album People & Things.   The track is fast paced from start to finish, with thudding keys and jolting guitar.  Structurally, the song is solid too - Andrew McMahon's lyrics of "My fuse is set, I'm pressing go / Your match is lit, but it's burning slow", create the perfect bridge, making way for a powerful chorus.

The way in which we obtain and listen to music has changed drastically over the past decade or so.  Thanks to digital music stores such as iTunes (as well as illegal file sharing sites), a fair majority of us are now downloading our music online. Purchasing music digitally is very convenient, as we can have music in a matter of minutes and often at a cheaper price than buying it from high street music stores. Purchasing digitally also means we can be more selective and precise by ordering one or two tracks instead of an entire album.  In addition to all of this, many music fans are discovering artists and bands online, either through recommendations based on their browsing and purchasing history, or through music reviews written by fellow music lovers. However, the boom in digital music has of course led to a major drop in physical album sales, in turn resulting in the closure of many high street music retailers. This is clearly a major drawback for the music industry, though it c

Influenced by 80's electro pop,  Paris Is Burning  is the standout track from Ladyhawke's self titled debut album. Stomping beats and a heavy bass line are complemented by breathy vocals telling us that "Paris is screaming all night long". Chanting vocals of "I've lost my way, it's hard to find it through / I see the night, but lost all sight of you", complete with raging guitars are a thrilling addition to an already infectious dance song.

Featured on the Nashville band's third album Chateau Revenge, From My Windowsill is a wonderfully sublime track with lyrics to match.  "And the taxis are rolling by / And the girls dressed in the latest styles / From the station to the concrete sky / There's no sign of heartbreak for miles and miles" sings lead singer Daniel Tashian, accompanied by backing vocals so melodic, you'll find yourself singing them all day.  My favourite part of the song is the middle 8, in which strings effortlessly layer progressive drums, making way for a beautiful guitar solo.

John Mayer's fifth studio album Born and Raised is to be released on 22 May. The follow up to 2009's Battle Studies is largely based on a country genre, and this is very much reflected in the first single taken from the album - Shadow Days . As a huge mayer fan, I have heard many of the tracks from live recordings and can't wait to hear what the final studio versions will sound like.  My favourite so far is Something Like Olivia, and I am beyond excited to hear the final recording of this track when the album is released. Another point of discussion is the album artwork.  I was shocked when I first saw it, as it is so different from previous album covers.  However this is not a bad thing; Mayer is an artist who is evolving musically with each album, and this artwork is a strong indication of his musical growth.

Taken from Josh Rouse's fourth studio album 1972 , ‘Comeback (Light Therapy)’ has an irresistible bass line that draws the listener in from the start. The track depicts the struggles of seasonal affective disorder; "The sun is gonna shine in June / The doctor says I'll feel better soon” sings Rouse, followed by grooving horns that climax into an equally addictive chorus. The song's timeless feel is intensified in the bridge, with the uplifting vocal line “I miss my serotonin and my days are going nowhere fast” soaring alongside a sublime flute arrangement.

I'm super excited for Jason Mraz's fourth studio album Love is a Four Letter Word, which is released in the UK on the 16th and in the US on the 17th April. Other than the first single, I Won't Give Up and The Freedom Song (from the Life Is Good EP),   I have avoided listening to any recordings or previews of the songs as I want to wait to hear the completed studio versions.   I really enjoyed the new tracks on the Life Is Good EP; if these songs are an indication of what's to come on Love is a Four Letter Word, fans should be excited. Last week Mraz announced a world tour, which kicks off on 8 June in South Korea, and runs right through to 1 December, with a date at London's o2 arena. Tickets go on sale this week.  Click here for the full list of dates!

I watched this dvd for the first time in ages on Saturday night.  It's one of my favourite music dvd's and a must have for any Killers fan.  The accompanying cd of live tracks is also a bonus (wish all bands would do this!)  Anyway, here is a review I wrote for this dvd, around the time of it's release in November 2009 -  The Killers Live From The Royal Albert Hall is a fantastic live dvd and cd compiled from the Las Vegas band's two night stand at London's Royal Albert Hall on the 5th and 6th July 2009.  The dvd is largely based around their Day & Age album but also features a generous amount of material from their previous albums; Hot Fuss, Sam's Town and the rarities album Sawdus t.  I was lucky enough to be at this concert, so watching this dvd brought back memories from a truly spectacular night.  The band are on top form and Brandon Flowers appears to be in his element, delivering a charismatic performance, with great stage presence