I was just listening to Eric Hutchinson's album this morning, and it really is one of those albums that grows on you with every spin. I love his album. You should check it out. It's poppy, but it's got so much soul in it, and it's so incredibly hooky that you'll definitely find yourself singing the tunes for months to come. It's great!
Shout out to E-Hutch!
Landon
"Grif"
Thursday, April 30, 2009
Wednesday, April 29, 2009
Gabcast! on air #2 - Gary Andersen Interview
This is the interview we did with Coach Andersen on Fusion this Monday - I hope you enjoy!!!
Thanks!
Landon
"Grif"
This is the interview we did with Coach Andersen on Fusion this Monday - I hope you enjoy!!!
Thanks!
Landon
"Grif"
gary andersen interview
We had Gary in Studio on Monday! Expect the interview here in a bit - Just getting everything finalized and whatnot.
It was a legit interview - Gary's a great guy.
Thanks to Gary for being awesome
Landon
"Grif"
It was a legit interview - Gary's a great guy.
Thanks to Gary for being awesome
Landon
"Grif"
Friday, April 24, 2009
Music Reviews
Hey everyone! I've posted the music reviews that I've written up on the blog for your consideration. The only music review that I've done on the station that I haven't done for the paper is Lily Allen's newest album.
Enjoy!
Landon
"Grif"
Enjoy!
Landon
"Grif"
U2 = Really Good
U2, one of the most successful rock bands in all of forever, has released a new album this week titled “No Line on the Horizon.”
This U2 album follows up after a very successful “How to Dismantle an Atomic Bomb” sent the world spinning under the vibes of the hit single “Vertigo.”
So, how does “No Line on the Horizon” measure up? I think it’s among the best of U2’s albums. No, it’s not quite as good as “The Joshua Tree,” but it certainly is a step up from “How to Dismantle an Atomic Bomb.”
Apparently many people agree, because the album was leaked and illegally downloaded by thousands of people roughly two weeks before it came out. That piece of information certainly got my attention.
This album has 11 tracks, one of which you may have already heard. The sixth track, “Get On Your Boots,” was released a few months ago as the album’s single. It’s been doing well from what I’ve seen. I like the grungy quality that is often not heard in U2. Instead of spacey guitars and squeaky vocals from Bono, a solid beat backs up a down and dirty single that gets your foot tapping. I dig it.
But this album can also be very ethereal. A huge musical spectrum is present in this album. Perhaps a bit more specifically, if I had to place this album closer to one end of the spectrum, I would say this album, despite its grungy qualities, thrives on its airy guitar riffs and Bono’s high voice and falsetto.
The album starts off strongly with the title track, “No Line on the Horizon.” The musical progression is very circular. The same notes are heard over and over in this song, but then, just about every U2 song does that. This track is in essence an introductory track. It gets you interested enough in the album to listen to the rest of it.
The second track, “Magnificent,” follows the same sort of grunge feel as the first album for a minute or so, and then opens up in a cornucopia of musical glory that can only be described as, well, magnificent. The classic cascading U2 guitar solos abound and bring a very retro, old-style feeling to the track. I really like it. If my prediciton holds, this track is going places. It’s slower than most U2 songs, but the chord progression is awesome and the song has a certain regal feeling about it. The track is very aptly named.
By the time you get to the fourth track of the album, “Unknown Caller,” you may begin to see the kind of tone that U2 has selected for the first half of the album. I can summarize it in one word: chill. That theme continues through track five, “I Know I’ll Go Crazy If I Don’t Go Crazy Tonight.” This one sounds more like the stuff on “The Joshua Tree” than any other track on the album.
You probably have heard “Get On Your Boots,” the sixth track on the radio, but track seven and eight you haven’t for sure, and if you think U2 has needed to take a different direction with their music, they certainly do in “Stand Up Comedy” and “FEZ – Being Born.” “Stand Up” doesn’t stray off too much from the path forged in this album, but it is definitely a different sound than U2 usually puts out. The musical style in this song loosely resembles that of Cake, but is still uniquely U2’s own. Bono speaks just about as much as he sings, and the beat is a bit quicker and highlighted by some tight electric guitar riffs.
Then U2 takes a trip into the land of The Flaming Lips with “FEZ.” I don’t know what birth is like, but if you take U2’s view, I guess that track would accurately describe it. Sound bits from “Get On Your Boots” pepper an ethereal electric rock bed layer of music for about a minute and a half, and then U2 is back again like they never left. “FEZ” is trippy, and that’s about everything you need to know.
These three tracks, “Get On Your Boots,” “Stand Up Comedy,” and “FEZ – Being Born” constitute the meat of the album. The remaining three tracks, entitled “White as Snow,” “Breathe” and “Cedars of Lebanon,” serve as a pathway out of U2-land.
If the Crash Test Dummies’ song “Mmm Mmm Mmm Mmm,” and Led Zeppelin’s “Stairway to Heaven” had a child, I think it would be “White as Snow.” The song is a ballad, and is very musical. Bono’s voice, instead of detracting from this song, adds a lot to it. The guitar and keyboard progression add a nice flavor to give a nice slow product.
The album pics back up a little bit and levels off as it finishes. “Breathe” flows nicely and adds a bit more to the “Joshua Tree” flavor that was felt earlier in this album when “I’ll Go Crazy” was introduced. It’s a very solid track, and it leads well into the end of the album. “Cedars” serves the opposite task of “No Line” – that of wrapping up the album. The only item in “Cedars” that even slightly irritates me is the fact that Bono talks way too much during it and doesn’t sing enough. If they had worked more of a melody into the song, it could have been better.
–la.hem@aggiemail.usu.edu
This U2 album follows up after a very successful “How to Dismantle an Atomic Bomb” sent the world spinning under the vibes of the hit single “Vertigo.”
So, how does “No Line on the Horizon” measure up? I think it’s among the best of U2’s albums. No, it’s not quite as good as “The Joshua Tree,” but it certainly is a step up from “How to Dismantle an Atomic Bomb.”
Apparently many people agree, because the album was leaked and illegally downloaded by thousands of people roughly two weeks before it came out. That piece of information certainly got my attention.
This album has 11 tracks, one of which you may have already heard. The sixth track, “Get On Your Boots,” was released a few months ago as the album’s single. It’s been doing well from what I’ve seen. I like the grungy quality that is often not heard in U2. Instead of spacey guitars and squeaky vocals from Bono, a solid beat backs up a down and dirty single that gets your foot tapping. I dig it.
But this album can also be very ethereal. A huge musical spectrum is present in this album. Perhaps a bit more specifically, if I had to place this album closer to one end of the spectrum, I would say this album, despite its grungy qualities, thrives on its airy guitar riffs and Bono’s high voice and falsetto.
The album starts off strongly with the title track, “No Line on the Horizon.” The musical progression is very circular. The same notes are heard over and over in this song, but then, just about every U2 song does that. This track is in essence an introductory track. It gets you interested enough in the album to listen to the rest of it.
The second track, “Magnificent,” follows the same sort of grunge feel as the first album for a minute or so, and then opens up in a cornucopia of musical glory that can only be described as, well, magnificent. The classic cascading U2 guitar solos abound and bring a very retro, old-style feeling to the track. I really like it. If my prediciton holds, this track is going places. It’s slower than most U2 songs, but the chord progression is awesome and the song has a certain regal feeling about it. The track is very aptly named.
By the time you get to the fourth track of the album, “Unknown Caller,” you may begin to see the kind of tone that U2 has selected for the first half of the album. I can summarize it in one word: chill. That theme continues through track five, “I Know I’ll Go Crazy If I Don’t Go Crazy Tonight.” This one sounds more like the stuff on “The Joshua Tree” than any other track on the album.
You probably have heard “Get On Your Boots,” the sixth track on the radio, but track seven and eight you haven’t for sure, and if you think U2 has needed to take a different direction with their music, they certainly do in “Stand Up Comedy” and “FEZ – Being Born.” “Stand Up” doesn’t stray off too much from the path forged in this album, but it is definitely a different sound than U2 usually puts out. The musical style in this song loosely resembles that of Cake, but is still uniquely U2’s own. Bono speaks just about as much as he sings, and the beat is a bit quicker and highlighted by some tight electric guitar riffs.
Then U2 takes a trip into the land of The Flaming Lips with “FEZ.” I don’t know what birth is like, but if you take U2’s view, I guess that track would accurately describe it. Sound bits from “Get On Your Boots” pepper an ethereal electric rock bed layer of music for about a minute and a half, and then U2 is back again like they never left. “FEZ” is trippy, and that’s about everything you need to know.
These three tracks, “Get On Your Boots,” “Stand Up Comedy,” and “FEZ – Being Born” constitute the meat of the album. The remaining three tracks, entitled “White as Snow,” “Breathe” and “Cedars of Lebanon,” serve as a pathway out of U2-land.
If the Crash Test Dummies’ song “Mmm Mmm Mmm Mmm,” and Led Zeppelin’s “Stairway to Heaven” had a child, I think it would be “White as Snow.” The song is a ballad, and is very musical. Bono’s voice, instead of detracting from this song, adds a lot to it. The guitar and keyboard progression add a nice flavor to give a nice slow product.
The album pics back up a little bit and levels off as it finishes. “Breathe” flows nicely and adds a bit more to the “Joshua Tree” flavor that was felt earlier in this album when “I’ll Go Crazy” was introduced. It’s a very solid track, and it leads well into the end of the album. “Cedars” serves the opposite task of “No Line” – that of wrapping up the album. The only item in “Cedars” that even slightly irritates me is the fact that Bono talks way too much during it and doesn’t sing enough. If they had worked more of a melody into the song, it could have been better.
–la.hem@aggiemail.usu.edu
Erin McCarley anything but Empty
Erin McCarley is a new, young, fresh artist. Odds are you’ve never heard of her, but if you’re reading this article, you have now.
Imagine, if you will, a light mixture of the Eagles, Eric Hutchinson, Vanessa Carlton, Sara Bareilles and the tartness of a kiwi (the fruit – there’s no artist with that name). That’s Erin McCarley.
“Love, Save the Empty,” McCarley’s debut album, hit stores in January of this year, and has suffered from relative obscurity. This normally happens to up-and-coming artists, so greatness should not be confused with exposure.
The album has 11 tracks, the most popular of which at the time of this writing is the title track, “Love, Save the Empty.” This song is the song mainly featured in the feature film “He’s Just Not That Into You,” and is the only track with a music video of the film. Coincidentally, another artist on that soundtrack is Eric Hutchinson ... hmmm. The two artists are similar. The other 10 tracks that sandwich “Love” into the middle of the album give it balance and a touch of sassy attitude that McCarley is not afraid to flaunt.
Her album is very unique, and is filled with a variety of different styles, such as the dark bluesy sound of “Sticky Sweet,” to the light and floaty ballad of “Gotta Figure this Out” and “Love, Save the Empty.” McCarley is a very versatile artist, with a sultry voice that could be used in any style of music from country to a Paramore-like rock ’n’ roll. McCarley displays wisdom in the way she employs her voice in this album, never overextending it, but also displaying the depth of it. It leaves the listener yearning for more.
So, how does the general feel of the album ebb and flow? Let’s take a look-see.
“Pony,” alternatively titled “It’s OK,” reminds me the most of Sara Bareilles of any track in this album, but there’s a difference. Erin McCarley is actually worth listening to, and her voice doesn’t sound like sandpaper on cement to me. She uses the piano a lot during the melody of the song, but is not limited to the piano and employs airy guitars similarly to how Vanessa Carlton does it. The guitars highlight the chorus, even if it is a bit repetitive. I’m not that much of a fan of a chorus that incorporates four repetitions of “La dit da da dit da da dit da,” but it is catchy, so I can’t hit it too hard.
The album takes a left turn after the first track, not necessarily changing style, but certainly changing tone. The second track in the album, “Blue Suitcase,” is a tune with a dark tone. I especially like the chorus. The melody builds and builds, then McCarley lets loose. A waterfall of minor chords, accented by dark sounding back-up singers, showers over McCarley’s moderately hooky lyrics. I like it. It’s good stuff. This same tone is continued through the third track.
McCarley’s style and tone reminds me of a dark, female Eric Hutchinson in “Sticky Sweet,” the third track. Piano makes a huge comeback in this song, as well as the bass drum. McCarley continues her dark tone and sultry, seductive style to make anyone who listens to “Sticky Sweet” think of more than honey, syrup and molasses. When you get a minute, check out the lyrics for this song and the two that follow. There’s a definite contrast between “Sticky Sweet” and “Lovesick Mistake” and “Love, Save The Empty.”
Often, we as young college students find ourselves trapped in that ephereal, intangible, nonsensical wonderland we call love. Boy meets girl, boy thinks girl is awesome, girl thinks the same about boy, they get together and then the moral standards of everyone involved dictates what happens from then on. More often than not, however, something goes wrong and the couple splits, usually emotionally destroying one-half of the duo. If you were to take “Sticky Sweet,” “Lovesick Mistake,” and “Love, Save the Empty” as the script of such an encounter, it is something that many young people, and maybe even quite a few not-so-young people can relate to. By saying that, I don’t mean to insinuate in the least that McCarley sings a lot of angry girl music. One thing to be remembered, Erin McCarley is not Kelly Clarkson.
“Love, Save the Empty” (the track, not the album) is a hit. It’s catchy, it has been publicized, as aforementioned, by New Line Cinema in the film “He’s Just Not That Into You” and it can resonate with almost anyone who has been in love at some point and then changed his or her mind. I could try and give you a huge explanation of how it is, but I think in this case, it’s pointless. Go listen to it, or look the video up on YouTube.
The only weakness to the album that I could find is that after about the seventh track of the album, the sound gets a bit repetitive. By this time, McCarley has already got the message of the album across, and the rest of the album exists as a complement to that message.
McCarley has done a fantastic job with this album. I think if her next album is as good as this one, we’ll be hearing about her for a good long time.
–la.hem@aggiemail.usu.edu
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Imagine, if you will, a light mixture of the Eagles, Eric Hutchinson, Vanessa Carlton, Sara Bareilles and the tartness of a kiwi (the fruit – there’s no artist with that name). That’s Erin McCarley.
“Love, Save the Empty,” McCarley’s debut album, hit stores in January of this year, and has suffered from relative obscurity. This normally happens to up-and-coming artists, so greatness should not be confused with exposure.
The album has 11 tracks, the most popular of which at the time of this writing is the title track, “Love, Save the Empty.” This song is the song mainly featured in the feature film “He’s Just Not That Into You,” and is the only track with a music video of the film. Coincidentally, another artist on that soundtrack is Eric Hutchinson ... hmmm. The two artists are similar. The other 10 tracks that sandwich “Love” into the middle of the album give it balance and a touch of sassy attitude that McCarley is not afraid to flaunt.
Her album is very unique, and is filled with a variety of different styles, such as the dark bluesy sound of “Sticky Sweet,” to the light and floaty ballad of “Gotta Figure this Out” and “Love, Save the Empty.” McCarley is a very versatile artist, with a sultry voice that could be used in any style of music from country to a Paramore-like rock ’n’ roll. McCarley displays wisdom in the way she employs her voice in this album, never overextending it, but also displaying the depth of it. It leaves the listener yearning for more.
So, how does the general feel of the album ebb and flow? Let’s take a look-see.
“Pony,” alternatively titled “It’s OK,” reminds me the most of Sara Bareilles of any track in this album, but there’s a difference. Erin McCarley is actually worth listening to, and her voice doesn’t sound like sandpaper on cement to me. She uses the piano a lot during the melody of the song, but is not limited to the piano and employs airy guitars similarly to how Vanessa Carlton does it. The guitars highlight the chorus, even if it is a bit repetitive. I’m not that much of a fan of a chorus that incorporates four repetitions of “La dit da da dit da da dit da,” but it is catchy, so I can’t hit it too hard.
The album takes a left turn after the first track, not necessarily changing style, but certainly changing tone. The second track in the album, “Blue Suitcase,” is a tune with a dark tone. I especially like the chorus. The melody builds and builds, then McCarley lets loose. A waterfall of minor chords, accented by dark sounding back-up singers, showers over McCarley’s moderately hooky lyrics. I like it. It’s good stuff. This same tone is continued through the third track.
McCarley’s style and tone reminds me of a dark, female Eric Hutchinson in “Sticky Sweet,” the third track. Piano makes a huge comeback in this song, as well as the bass drum. McCarley continues her dark tone and sultry, seductive style to make anyone who listens to “Sticky Sweet” think of more than honey, syrup and molasses. When you get a minute, check out the lyrics for this song and the two that follow. There’s a definite contrast between “Sticky Sweet” and “Lovesick Mistake” and “Love, Save The Empty.”
Often, we as young college students find ourselves trapped in that ephereal, intangible, nonsensical wonderland we call love. Boy meets girl, boy thinks girl is awesome, girl thinks the same about boy, they get together and then the moral standards of everyone involved dictates what happens from then on. More often than not, however, something goes wrong and the couple splits, usually emotionally destroying one-half of the duo. If you were to take “Sticky Sweet,” “Lovesick Mistake,” and “Love, Save the Empty” as the script of such an encounter, it is something that many young people, and maybe even quite a few not-so-young people can relate to. By saying that, I don’t mean to insinuate in the least that McCarley sings a lot of angry girl music. One thing to be remembered, Erin McCarley is not Kelly Clarkson.
“Love, Save the Empty” (the track, not the album) is a hit. It’s catchy, it has been publicized, as aforementioned, by New Line Cinema in the film “He’s Just Not That Into You” and it can resonate with almost anyone who has been in love at some point and then changed his or her mind. I could try and give you a huge explanation of how it is, but I think in this case, it’s pointless. Go listen to it, or look the video up on YouTube.
The only weakness to the album that I could find is that after about the seventh track of the album, the sound gets a bit repetitive. By this time, McCarley has already got the message of the album across, and the rest of the album exists as a complement to that message.
McCarley has done a fantastic job with this album. I think if her next album is as good as this one, we’ll be hearing about her for a good long time.
–la.hem@aggiemail.usu.edu
Kings of Leon Album Review
Kings of Leon, the American rock band idolized it seems everywhere except for in the United States, released an album last October titled, “Only By The Night.”
This album has been a monster in Australia and especially the U.K. and the rest of Europe over the last six months. Since its debut, it has sold more than 1.7 million copies in the United Kingdom alone, and achieved 5x Platinum status there.
In Australia, the album has achieved 8x Platinum status, selling more than 550,000 copies. The album peaked at the number one-selling album in both nations. You would think with those kind of numbers, there is something to this band.
The album “Only By The Night” is Kings of Leon’s fourth studio album. The band has only been around for a little more than six years, and has risen very quickly to a position of high prominence. They went on the Vertigo tour with U2 in 2005 to open for the Irish powerhouse, which not only increased their popularity amongst U2 fans, but also gave great publicity for a band that now seems to be in the position for greatness if it can produce.
So, is “Only By The Night” the key that will unlock super-stardom for the Kings? There’s at least one super-hit on this album, but I have mixed feelings of doubt and weariness about it
Kings of Leon is certainly no U2, but you can feel the heavy influence that is infused in their sound. Airy guitars lay the foundation for a slow progression and high-pitched, sliding vocals by the band’s lead singer Caleb Fallowill. That’s basically the sound you’ll be hearing if you listen to it – lots of airy guitar and keyboard highlighted by Fallowill’s falsetto. However, lack of variety in the album can leave the listener a bit bored and signify that the band could be a bit aimless at this point with little motivation to innovate a new style or spin to their eclectic sound.
The opening track, “Closer,” is pretty good, but quite repetitive. The guitar sequence with which the song opens is sustained throughout the entire song, and the rest of the song just goes around and around and around. By far, the highlight to this track is Fallowill, whose lyrics provide the only source of originality and difference to the track. If you’re a big fan of Snow Patrol, you’ll like this track.
The second track, “Crawl,” starts off with a grunge riff that reminded me of the chorus line in Steve Miller Band’s “Keep On Rocking Me Baby.” In contrast to the first track, Fallowill takes a lot away from what this track could have been.
If Fallowill had taken this song and given it a major inflection instead of the minor tone it takes, I would be totally on board for it, and probably but for the rest of the album. In all honesty and sincerity, this track is best when it’s in its instrumental sections. I’m also not too fond of the lyrics. “Crucified USA?” Come on.
Of the third track, “Sex on Fire,” Harry Dunne’s words ring loud and clear at times.
“Just when I thought you couldn’t possibly be any dumber, you go and do something like this ... and totally redeem yourself.”
“Sex on Fire” is the super-hit of this album. Although it is cyclical, the song has a terrific hook. The chorus is sung three or four times, and Fallowill uses his voice better in this track than in any other. Listen to it a couple times and see if the tune doesn’t get stuck in your head.
Some might argue the title is a bit racy. I’ve looked up the lyrics, and I think it should be concluded that yes, the word sex is in the song, and it definitely could be considered a racy song, but the song is not explicit really in any detectable sense.
The lyrics will have a different meaning to every individual that hears and reads them. The Kings use the lyrics to catch the attention of the listener. I don’t believe their purpose goes much beyond that. I suppose you can take that for what it’s worth. The album isn’t an obscene one to me.
The rest of the album follows along the trail that the first three forge. None of the other tracks really stray far from that trail, and I would surmise that if you like the first three, you’ll love the rest. I, however, give this album a C+. It has its strengths, but it also has its definite weaknesses.
–la.hem@aggiemail.usu.edu
This album has been a monster in Australia and especially the U.K. and the rest of Europe over the last six months. Since its debut, it has sold more than 1.7 million copies in the United Kingdom alone, and achieved 5x Platinum status there.
In Australia, the album has achieved 8x Platinum status, selling more than 550,000 copies. The album peaked at the number one-selling album in both nations. You would think with those kind of numbers, there is something to this band.
The album “Only By The Night” is Kings of Leon’s fourth studio album. The band has only been around for a little more than six years, and has risen very quickly to a position of high prominence. They went on the Vertigo tour with U2 in 2005 to open for the Irish powerhouse, which not only increased their popularity amongst U2 fans, but also gave great publicity for a band that now seems to be in the position for greatness if it can produce.
So, is “Only By The Night” the key that will unlock super-stardom for the Kings? There’s at least one super-hit on this album, but I have mixed feelings of doubt and weariness about it
Kings of Leon is certainly no U2, but you can feel the heavy influence that is infused in their sound. Airy guitars lay the foundation for a slow progression and high-pitched, sliding vocals by the band’s lead singer Caleb Fallowill. That’s basically the sound you’ll be hearing if you listen to it – lots of airy guitar and keyboard highlighted by Fallowill’s falsetto. However, lack of variety in the album can leave the listener a bit bored and signify that the band could be a bit aimless at this point with little motivation to innovate a new style or spin to their eclectic sound.
The opening track, “Closer,” is pretty good, but quite repetitive. The guitar sequence with which the song opens is sustained throughout the entire song, and the rest of the song just goes around and around and around. By far, the highlight to this track is Fallowill, whose lyrics provide the only source of originality and difference to the track. If you’re a big fan of Snow Patrol, you’ll like this track.
The second track, “Crawl,” starts off with a grunge riff that reminded me of the chorus line in Steve Miller Band’s “Keep On Rocking Me Baby.” In contrast to the first track, Fallowill takes a lot away from what this track could have been.
If Fallowill had taken this song and given it a major inflection instead of the minor tone it takes, I would be totally on board for it, and probably but for the rest of the album. In all honesty and sincerity, this track is best when it’s in its instrumental sections. I’m also not too fond of the lyrics. “Crucified USA?” Come on.
Of the third track, “Sex on Fire,” Harry Dunne’s words ring loud and clear at times.
“Just when I thought you couldn’t possibly be any dumber, you go and do something like this ... and totally redeem yourself.”
“Sex on Fire” is the super-hit of this album. Although it is cyclical, the song has a terrific hook. The chorus is sung three or four times, and Fallowill uses his voice better in this track than in any other. Listen to it a couple times and see if the tune doesn’t get stuck in your head.
Some might argue the title is a bit racy. I’ve looked up the lyrics, and I think it should be concluded that yes, the word sex is in the song, and it definitely could be considered a racy song, but the song is not explicit really in any detectable sense.
The lyrics will have a different meaning to every individual that hears and reads them. The Kings use the lyrics to catch the attention of the listener. I don’t believe their purpose goes much beyond that. I suppose you can take that for what it’s worth. The album isn’t an obscene one to me.
The rest of the album follows along the trail that the first three forge. None of the other tracks really stray far from that trail, and I would surmise that if you like the first three, you’ll love the rest. I, however, give this album a C+. It has its strengths, but it also has its definite weaknesses.
–la.hem@aggiemail.usu.edu
Thursday, April 23, 2009
Motil EP review
Nick Motil is a young, up-and-coming artist that has toured with the likes of Jason Mraz among others is putting out a good, strong sound in the Everything's Alright EP he released on April 15, 2008.
Motil recently visited Utah State University to showcase his talents at the Big Blue Ball, the USU formal spring dance, and also to host the Robins awards, the most prestigious annual awards ceremony for students, staff, and faculty of Utah State University. Motil did an excellent job and also helped out Fusion HD3, the USU student radio station, in the process by generously donating his EP and some promo work in return for some publicity. I'm happy to oblige.
I've reviewed this EP once already on Fusion HD3. The station streams online, and you can get it at http://www.radio.usu.edu. My show, the GRIF show, just finished its last broadcast for the spring semester of 2009 and will return to the airwaves when school starts again this fall. You can check out the blog at grifshow.blogspot.com for regular album reviews and updates about what's going down with the show.
The first thing that caught my attention when I heard about Motil was that he has toured with Mraz. I LOVE Mraz's music. I'm a Mraz junkie. So, naturally, I thought anyone that has toured with him can't be horrible, and I was absolutely right.
As an individual, Motil is cordial, forthcoming, and he certainly knows how to bust a good joke every now and again. His humor brought a wonderfully light atmosphere to the Robins awards, and his live music kept USU students and alums alike dancing the night away.
The Everything's Alright EP, by no means, is the debut effort for Motil. He has released three studio albums to this point over the last four years. His debut album was released in 2004, and Motil has released a strong album every year since then. Indeed, it can be said that Motil has enjoyed a lot of success, especially while touring with Mraz, where according to CDBaby.com he sold over 5,000 CDs.
Motil's sytle is unique, very similar James Taylor in his hey-day. His sound, which employs strong guitar progressions and scaling vocals, generates an upbeat feeling in all those who listen. His lyrical style is also cross-genre. It could be argued that Motil is a country artist, although his guitar style and the absence of violins would tell listeners the opposite of him. Motil's voice is silky smooth - his music is the perfect complement to the weekend get together with family, the occasional barbecue, and road trip. Also, Motil's lyrics do something that very few superstars of the music world do today - they tell a story. Motil's lyrics mean something, and in a day and age where "I Kissed a Girl" can sit on the top of the charts for three straight months, I find that refreshing.
Motil's music is anything but repetitive. Indeed, this may be one of Motil's strongest points, in my opinion, but it could also be what may be holding him back from super-stardom. Motil's music, although very strong, lacks one thing above all else - a convincing and strong hook that sticks in the mind of the listener after the song is over. The strongest of Motil's various attempts at this would be in the first track, "Try Harder," but the hook comes at an odd place that ends up being a slight drawback. That having been said, if this is Motil's biggest challenge, he's definitely got a bright future ahead of him.
Here's a quick rundown of the tracks of the EP for your consideration.
The first track of the EP, "Try Harder" is excellent. By far, the strength of this track is in its lyrics. Some of lyrics from the lullaby "Momma's gonna buy you a mocking bird..." set to an upbeat and progressive melody and provide a optimism to the romantic theme in the excellent lyrics. Motil did well in this track, which is by far the best of the EP.
Track number two, "Butterflies," continues the romantic theme established in the first. The tempo is much slower, and the melody slides quite a bit more. This song reminds me of James Taylor a lot, perhaps more than track five, "Either Way," which sounds a lot like Taylor. It creates a very relaxing ambient that is very difficult to dislike.
The third track, "Everything's Alright," is a step back in some areas and a leap ahead in others. If Motil tried to create a hook in any of his songs, it was in this one. Motil even succeeds in the sense that it's very easy to remember and quite catchy, but not so much that I find myself thinking, "Dang, that was awesome." However, it is a good attempt, and Motil deserves recognition for it. The biggest drawback is the lack of a strong progression. The song is a bit too circular for my taste. This song also constitutes what I would consider to be the peak in the album. The tracks prior to it build up to this track, and the tracks after slide away from it. It fulfills it's roll decently. Had it been me, I would have placed this track at the end of the EP. It would fit better in that position.
The fourth and fifth tracks, "Cliche" and "Either Way," balance the EP. As previously mentioned, "Either Way" is very Taylor-esque. Some would say that this is a bad thing, but not me. I appreciate Motil's gentle progression and stong lyrics. He is at his best when he is himself, which is exactly what Motil portrays in these two tracks, a strong but gentle musician with a link to everything that really matters in life.
The last track of the EP, "Home" is also very good. It should be the track to take either the opening position or the climax position of the EP, however. The tempo is upbeat and forward, and the harmony in this song that Motil's female counterpart, whoever she is (I don't know who it is. Nick, tell me that girl's name!) completes the song. It, along with "Try Harder" constitute the meat of this EP, and should be showcased as such.
I normally don't grade EP's because they are super common and usually not of the quality that would warrant such close scrutiny, but I believe that this one warrants it. I give this one a strong B+. If Motil continues to produce, you'll be hearing a lot more about him in the future.
Special Thanks to Nick Motil for the sound byte and for the EP. USU loves you, man!
Tuesday, April 7, 2009
the show
hey guys - It's me, grif.
Just reminding you to send in requests for tomorrows show. Be sure to listen and to call me! I love hearing from you guys and what's going on in your lives. We'll be sure to get your music on as well.
Long live Fusion
Request Line - 435-797-5503
http://www.radio.usu.edu
Also - just for those who follow the show - We are still working with the Athletic department to get Gary Anderson on Fusion. I've been working with Tim Olsen of the Statesman and the Athletic Dept to meet this end. I'll probably be meeting with important individuals this week and I'll have more info next week.
Here's something else that I'll do - If you're listening in Logan, and if you are the 3rd person to call in a request tomorrow, I'll go buy you an Aggie Ice Cream. Call in and see if you can win it! I'm more than happy to oblige! This should be incentive for you to tell other people to listen to, because I'm going to do this from time to time, within my financial means. Fusion can't pay for any of this, and I can't broadcast these sorts of contests over the air.
So, call, and see if you win! :-)
Take it easy!
Landon
AKA "grif"
Just reminding you to send in requests for tomorrows show. Be sure to listen and to call me! I love hearing from you guys and what's going on in your lives. We'll be sure to get your music on as well.
Long live Fusion
Request Line - 435-797-5503
http://www.radio.usu.edu
Also - just for those who follow the show - We are still working with the Athletic department to get Gary Anderson on Fusion. I've been working with Tim Olsen of the Statesman and the Athletic Dept to meet this end. I'll probably be meeting with important individuals this week and I'll have more info next week.
Here's something else that I'll do - If you're listening in Logan, and if you are the 3rd person to call in a request tomorrow, I'll go buy you an Aggie Ice Cream. Call in and see if you can win it! I'm more than happy to oblige! This should be incentive for you to tell other people to listen to, because I'm going to do this from time to time, within my financial means. Fusion can't pay for any of this, and I can't broadcast these sorts of contests over the air.
So, call, and see if you win! :-)
Take it easy!
Landon
AKA "grif"
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