web analytics

Pop Rock Nation

Category: Mini-Reviews

  • I think I’m in love with Mr. and Mrs. F…

    I think I’m in love with Mr. and Mrs. F…

    These two make the cutest videos on YouTube and for that reason, I think I’m in love with Mr. and Mrs. F…

    Today’s post is inspired by YouTube, which I am using for entertainment purposes until my furniture gets here on Tuesday. I am sitting on the floor with my new laptop, which has been a lifesaver since I have become one of those people who can’t live without Internet anymore. It’s just me and my two dogs, whom I am trying to keep quiet so my new German neighbors don’t get upset and start complaining. I’m wearing a new Saint Obnoxious beer drinking shirt that says “Life is too short to drink shitty beer” in German and, well, short of starting drinking at noon, there’s not too much to do. So I went to YouTube and started watching videos and I was reminded of an adorable couple whose baby’s development was immortalized in a cute video…


    From Bump to Buzz has over 9 million hits and was all over my Facebook a few months ago… I just watched it again and I’ll be damned if it didn’t make me weepy.

    I thought this video was so delightful that I started watching some of the other videos starring singer-songwriter and children’s book author Tom Fletcher and his lovely wife, Giovanna, also known as “Gi”.


    The next video I found was the one announcing Giovanna’s pregnancy. Appropriately enough, it’s Halloween themed and just as sweet as their From Bump to Buzz video.

    At first, I wasn’t sure if Gi was singing with Tom, until I found the next video dating from March 2013…


    Mrs. F does indeed have a very pretty voice and the two of them are just flat out irresistible in this video. Their baby is destined to be able to sing. Check out Tom’s guitar licks, too.

    Here, in February 2014, Mr. and Mrs. F sing L-O-V-E and look like they are very much into it.

    I bet this couple is a lot of fun at parties. I would love to do something like this with my own husband, but he can’t sing and probably wouldn’t do it on camera even if he could. I’m the show off in our house.

    Tom Fletcher is one of the lead vocalists of the band McFly, which I must admit I know very little about at this point. Realizing that he was born in 1985 and I still remember that year very well, I wonder if I will enjoy McFly’s music as much as I do the videos Fletcher makes with his wife. Let’s see…


    This is the video for McFly’s song “Love Is Easy”, which was released in 2012. It’s pretty catchy and not at all unpleasant.

    I think I’m too old for boy bands, though… so I prefer Mr. and Mrs. Fletcher’s efforts on YouTube. Watching Tom Fletcher play makes me wish I’d stuck with guitar lessons.


    They are so damn cute!

  • Smokey Robinson sings with friends!

    Smokey Robinson sings with friends!

    Smokey Robinson sings with friends on his brand new duets album, Smokey & Friends!

    Hi folks. I know it’s been a few weeks since my last post. I’ve been busy with this move from Texas to Germany and am still sitting in temporary lodging. Fortunately, I still have Internet access and was lucky enough to score a review copy of Smokey Robinson’s new album, Smokey & Friends!

    Smokey Robinson has had a very long and successful career in the music business. At age 74, his voice is still in great shape as he collaborates with an eclectic variety of rock star notables on Smokey & Friends. Though I can’t yet count myself among his most ardent fans, I do enjoy some of his best known hits as well as the songs he wrote for others. I had the chance to listen to Smokey & Friends yesterday morning and I really enjoyed it.


    On this video by the Associated Press, Smokey Robinson talks about how this project came to be.

    Smokey & Friends consists of eleven tracks written by Smokey Robinson and includes duets by everyone from Mary J. Blige to James Taylor. This new album was produced by American Idol star and record producer Randy Jackson. The production on Smokey & Friends is a bit on the slick side for my usual tastes; on the other hand, it was pretty good morning music and helped me wake up.

    A jaunty organ solo kicks off the first song, “Tracks of My Tears”, which is a collaboration between Smokey Robinson and Elton John. I have always liked this song and I think Smokey and Elton work well together, although I must admit that at first, I thought Elton was Van Morrison. His voice has deepened a bit and, on this song, it almost sounds like he has an Irish accent. It wasn’t until Elton cut loose on the chorus that I recognized his voice. Still, it’s a strong effort and I like it.


    Elton John talks about making his duet with Smokey Robinson.

    Steven Tyler was a great choice for the next song, “You Really Got A Hold On Me”. This sounds like a song Aerosmith could have easily covered. This rendition has edgy guitars that give it a straight rock sound. It works very well, although Smokey’s vocal contributions are less obvious on this track.

    Next comes a very smooth and sweet rendition of “My Girl” featuring Smokey Robinson singing with Miguel, Aloe Blacc, and JC Chasez. Although I am very partial to The Temptations’ famous cover of Smokey’s song, this is a really pleasant, soulful version of “My Girl”. As I listened to these guys singing together, I was reminded of Daryl Hall and I kind of wondered why he’s not on this record too. Their voices blending together reminded me of classic Hall & Oates.

    I first heard of Jessie J. when she was featured at the 2012 Summer Olympics in London. I thought she had a pretty powerful voice during that performance. Singing “Cruisin’” here with Smokey Robinson, she offers even more power and soul. Before the song begins, Jessie J. explains that she first heard Smokey sing when she was 7 years old and that singing with him is “a dream come true”. “Cruisin’” happens to be one of my favorite songs by Smokey Robinson. To my ears, this version doesn’t surpass Smokey’s original, but I am impressed by the vocal chemistry Jessie J and Smokey Robinson have.

    I wasn’t familiar with “Quiet Storm” before I listened to this duet version, featuring John Legend. Legend and Robinson work well together on this relaxing, jazzy number; now I’m curious about the original.

    I had no idea that “The Way You Do The Things You Do” was a Smokey Robinson creation. Here, he sings it with CeeLo Green. I like this updated version of “The Way You Do The Things You Do”, which gives CeeLo Green the chance to show off his rich, warm vocals.

    The cool, sensual “Being With You” is another one of my favorite songs by Smokey Robinson. Mary J. Blige offers a sexy counterpart to Smokey Robinson’s silky voice. Though this song was originally a solo, it works great as a duet.

    I love James Taylor’s music and I know that he has a special fondness in his heart for classic hits from the 50s and 60s. “Ain’t That Peculiar” gets a Taylor makeover on Smokey & Friends, which is arranged a bit like Taylor’s most recent recordings. When this song started, I was immediately reminded of the songs on October Road. He uses lots of organ, electric guitars, and an interesting rhythm. He definitely made it his own, which I respect. It sounds like they had a lot of fun with it.

    Sheryl Crow gamely takes a turn with “The Tears of A Clown”, another classic Robinson hit. This is a solid effort; Sheryl Crow has a less tremulous quality to her voice that balances well with Smokey’s voice. Plus, I really like the song itself; it’s one of those numbers that never gets old.

    “Ooh Baby Baby” begins with an introduction by Ledisi, who joins Smokey on this very sexy hit. I have to admit, when it comes to cover versions of “Ooh Baby Baby”, I’m kind of partial to Linda Ronstadt’s take. Ledisi and Smokey Robinson give their duet more of a quiet sensuality and warmth than Ronstadt’s more torch like presentation. It’s appealing and entertaining and I can tell Ledisi is really into it.

    The last song is “Get Ready”, a great song for the morning if I ever heard one. Gary Barlow and Smokey Robinson update this into an exciting and hard driving rock song. I think they did a great job updating this hit and I really like it. It’s a great way to close out Smokey & Friends. This arrangement almost has an element of danger to it, which breathes new life into a true classic.

    Smokey and his friends did fine work with Smokey & Friends. I enjoyed listening to these duet renditions of Smokey Robinson’s classic hits and am very impressed by how great Smokey still sounds after all his years in the music business. This album also reminds me that Smokey Robinson is a great songwriter and inspires me to listen to more of his work. I know I already turned on one of his fans to this latest effort and I hope some of you out there will also give it a spin!


    Trailer for Smokey & Friends… a great place to hear some samples from this record.

  • a few quick recommendations of 2014 albums

    I don’t have much to say about music from 2014 yet beyond “Here are some albums I’ve listened to a couple times that are definitely good”. I’ve been short on music-listening time this year: there’s been my mom’s cancer and my revival of my teenage fascination with the TV show Doctor Who, plus various temporary issues. That’s why I’m still far from done with my Best-of-2013 review countdown, even. But in case you’re curious, here are some 2014 albums I’m happy with, along with sketchy, tentative descriptions:

    Bastards of Fate, Vampires are Real and Palpable. Loud, woozy, strange, carnivalesque, racing from one idea to another, and prone to explosions — all with crooned melodic vocals.

    Jon Langford & Skull Orchard, Here Be Monsters. Americana from the former leader of the Mekons: lyrically smart, politically charged, with arrangement ideas (especially percussion) that are just a little bit off.

    Laibach, Spectre. Slightly-poppy industrial dance from Slovenian pranksters who’ve made a long career of toying with fascist imagery (for example, the minor tinkering needed to turn Queen’s “One Vision” into a Nazi rallying call), but finally decided this year to explicitly sing as their leftist selves — which, it turns out, works just fine, and infuses them with new energy.

    Muuy Biien, D.Y.I. An abrasive, churning, hostile splatter of echoey 2-minute punk-rock songs, more spoken/yelled than sung, that’s very well-played for what it is and ends up striking me as lots of fun. The surf-rock influence helps.

    Neneh Cherry, Blank Project. Sensual, minimalist R & B. The most aggressive songs sound to me like sparer feminine takes on Kanye’s Yeezus, while the rest put almost all the emphasis and power onto her jazz-and-hip-hop-influenced crooning.

    Reconaissance Fly, Flower Futures. Arty avant-cabaret with strange melodic progressions and tuning and playfully weird lyrics (reminding me of Slapp Happy, if their songs had gotten longer instead of shorter as they got weirder). Extremely well-sung, although willfully distant.

    Sage Francis, Copper Gone. My favorite album of 2014 so far is dense, energetic hip-hop full of leftist politics, personal reflections and recriminations, complicated wordplay, and cultural-allusion mixmastering that often pays off in oddball insight.

    Seeming, Madness & Extinction. Or, my favorite album of 2014 so far is a lavishly beautiful, massively layered goth-pop album about, yes, madness and (human) extinction. Not normally my kind of thing; it’s just so well done.

    St. Vincent, S/T. Another layered, dark pop album, helmed by the solemn vocals and twisted King Crimson-ish guitar work of Annie Clark. This is St. Vincent’s slickest and most accessible record: “dance music for funerals” is I think how she described its intent.

    Stars in Battledress, In Droplet Form. A very English, precisely composed, good-natured keyboard-pop record with influences baroque, Kid A-ish, quirk-poppy, and Stereolabby.

    Stephen Malkmus, Wig Out at Jagbag’s. Guitar-heroics indie-pop of a laid-back nature, as if the Allman Brothers had been geeky university Northerners instead of not like that at all.

    Tori Amos, Unrepentant Geraldines. At least musically, it would be very easy to believe this was a long-lost predecessor to Little Earthquakes: piano-centric, direct, easy-access. I’ll probably decide it’s great once I give it the attention it deserves; for now I’m annoyed that all the reviews are so ecstatic that this isn’t like the Beekeeper or Abnormally Attracted to Sin, both of which I think are wonderful, wonderful records. But even though right now I find it an unwanted corrective and haven’t listened very well, I can tell it’s no worse than good.

    TunaBunny, Kingdom Technology. A very strange amalgam of vocal-harmony-driven rock’n’roll, drone/ambient, and Fall/Wire-ish post-punk.

    White Hinterland, Baby. Jazzy, soulful minor-key piano-pop songs with nifty experimental edges.

    Wovenhand, Refractory Obdurate. Dark, dry, gothy minor-key post-punk guitar-rock that reminds me of early Echo & the Bunnymen, Chairs Missing/ 154-era Wire, and the Chameleons.