Jerry's Pick: "Venice Bitch"

"Venice Bitch"-Lana Del Rey

Lana Del Rey's latest experiment is a trippy masterpiece the like pop radio hasn't heard for decades.  It's an almost ten-minute experience that is introspective, fragile and melancholy yet romantic, sexy and hopeful.

Yep, I said ten-minutes. Your average radio single typically runs just under four-minutes in length, many of which seem to drag... on... for... ever.

But not here.

During each spin of "Venice Bitch" I discover something new. It's so easy to get lost in its complex soft and hazy, dark and delicious ethereal ambiance. Lana lightheartedly explained to Zane Lowe of Beats-1 Radio, "I was like, 'well, end of summer... some people just wanna drive around for 10 minutes, get lost in some electric guitar'."

"Venice Bitch" has a vibe that takes me back to the progressive-rock and psychedelic folk-pop era of the late-60s/early-70s. If "Venice Bitch" was released 50-years ago it would probably get some spins on album-oriented FM radio alongside deep-cuts from Traffic and The Incredible String Band. I think it has a dreamy sound not unlike 1969's "The Moving Van" from guitarist Randy California and his band Spirit.

But do radio programmers today have the moxie to give Lana's new single some serious airtime? Probably not. It already has three-strikes against it; its length, its intricacy, and its title. But here, Lana is all about the art, not the chart. As the once self-proclaimed "secret weirdo" sings at the start of "Venice Bitch," she is "Fresh out of fucks, forever."

Come to think about it, I don't think I've ever heard the word "bitch" sound so elegant.

The single's first two-minutes remind me of Lana's breakthrough 2011 debut "Video Games" but then artfully transitions into a seven-minute swirling aural hallucinatory trip accented with layered guitars, subtle synths, delicate orchestration and hushed vocals.

Lana's poetry seems to be painted in idyllic 20th century Americana with references to Hallmark, Robert Frost, a 1968 Tommy James hit and Norman Rockwell. (In fact, her parent album -- available next year -- will be christened Norman Fucking Rockwell.)

Lana's prose floats from the playful...

"You're beautiful and I'm insane/We're American-made..."

...and possessive...

"If you weren't mine, I'd be jealous of your love..."

...to dismissive...

"Wha-wha-wha-wha-whatever... everything, whatever..."

Again, there is so much to take in. Grab your headphones, open your ears and your mind, and let all of Lana Del Rey's beautiful, beautiful, beautiful "Venice Bitch" wash over you.

That's all for now. Signing off... bang bang, kiss kiss.

Jerry's Pick: "You Should See Me In a Crown"

"You Should See Me In a Crown"-Billie Eilish

Who doesn't love a dark-hearted psychotic-sounding musical goddess?

The first time I listened to "You Should See Me In a Crown" a couple of months ago I imagined the voice belonged to someone who has the talent of Lorde and the soul of Wednesday Addams. 

Billie Eilish is a 16-year old LA-native with a definite dark side. Previous singles have included "Bitches Broken Hearts," "Six Feet Under" and "Bellyache" featuring lyrics penned from the vantage-point of a serial killer. Google her image and you'll see pages of pics of a young, brooding face. She once told W Magazine, "Smiling makes me feel weak and not in control and not powerful, and small."

"Crown" is edgy and a bit intimidating. Close your eyes after clicking "play." There's a possessed Billie, staring you down, scraping two knives against each other while cautioning you with a whisper over a mildly menacing intro. 

"Bite my tongue, bide my time, wearing a warning sign..."

Billie's teenage angst is subtle yet powerful, and -- I must admit -- a bit creepy. Listen for the build-up leading to the chorus where you'll hear quickly ascending pseudo-strings followed by a split-second of silence. It's the same method used in horror films during those menacing scenes leading the audience to believe something horrible is about to happen.

Adding to the eeriness of "Crown" is the wobbly bass audible behind the chorus and the way Billie ends each rhyming line on a descending note lending a cold, uncaring feel to the track.

"Tell me which one is worse, living or dying first, sleeping inside a hearse... I don't dream"

Her lyrics are dark throughout, including the mood of the middle-eight. I have no idea what she's saying but her electronically oscillated voice (with the "ha-ha-ha") add to the insanity of this uniquely awesome creation.

Billie revealed that the song's title was inspired by an episode from the BBC television drama "Sherlock" where the program's antagonist -- Professor James Moriarty -- once declared, "In a world of locked rooms, the man with the key is king. And honey, you should see me in a crown."

Actually, I can. And give her a silver scepter while you're at it!

So, step aside because here comes alt-pop's new royalty, Billie Eilish, who will be slaying them "one, by one, by one..."

Jerry's Pick: "Girl Gang"

"Girl Gang"-Gin Wigmore

You could call it a musical kick-in-the-nuts to patriarchship. And, this song does it while wearing a pink pussy hat.

"I got fight, I got heart, I got the strength to tear it apart. I got bite, I got brains, I got the grace and power to reign."

Riding the blue wave of the #MeToo movement, New Zealand-native and LA resident Gin Wigmore has written, performed, recorded and produced the best women's empowerment anthem since we heard Helen Reddy roar in 1972.

I've been following Gin's career since I first heard that dynamic, raspy voice belting out a few lines of her "Man Like That" single as part of a 2012 James Bond/Heineken television ad. This year, she's endorsing grrrl power!

When it comes to a female fiat, there's been quite a bit of inspiration to draw from in the headlines over the past couple of years from a misogynistic president and a worldwide post-inaugural Women's March to a record number of women running for public office. Sure, there's all that, but add a few personal motives as well.

Wigmore cites a variety of issues from gender prejudice, shaming, and discrimination. She explaines to the New Zealand Herald, "When you have a big idea about something -- you're seen as being difficult, a diva, all these negative associations. And if you're a man, he's seen as a visionary with big ideas, a go-getter and a motivator."

Plus, one-year ago this month Gin became a mom for the first time. In fact, she titled her new album Ivory after her son. In an interview with Radio New Zealand, she relates, "So this project was a way to bring us together, celebrate women, realize and show the world that there is room for everyone. That there is room for all of us."

"Girl Gang" -- driven by persistent and powerful percussion -- is Wigmore's infectious, gritty, confident, uplifting yet defiant indie rock 'n' roll call-to-arms built (as she sings) on the bones of Brando. Gin calls it a sass attack and hopes it will empower women to "take a stronger stride, a louder opinion and a right to love, adore and praise who you are."

Men... step aside.

"It's a girl gang... boy, you wish you could join."

Jerry's Pick: "Soul Train"

"Soul Train"-Just Loud

A dozen years ago Justin Timberlake's musical mission statement was to bring sexy back. Now a Virginia-based musician thinks its time to do the same for funk. Leading the crusade: Just Loud.

Just Loud is not only a proclamation but the moniker of the man behind the exciting new single "Soul Train," an energetic throwback to Seventies soul and -- as you might have guessed -- one of America's longest running televised dance parties.

On his Facebook page, Just Loud explained, "The way how the generation is moving right now is way too cool, ain't got no funk. Where's the funk now? I'm asking you, 'Where's the funk?' So, with 'Soul Train' I hope we can just bring it back just a little bit. Enough with being cool. Let's bring the funk back!"

I'm not entirely sure "Soul Train" will resurrect the genre, but he's on the right track with the best example of synth-saturated soul featuring funk-filled falsetto since Prince blew us a "x x x x x, kiss" in 1985.

Along with a chugging bass-line and an energetic, infectious chorus, I also appreciated Just Loud's lyrical tip-of-the-hat to the architect of punk-funk, Rick James, and his 1978 single "Mary Jane." (I guess it could also be a nod to his all-girl R&B group the Mary Jane Girls.)

But that's not the coolest revelation of "Soul Train." Fab Five Freddie told me it's none-other than Debbie Harry reliving her Blondie "Rapture" moment with those "Harass your ass" vocal fills during the song's middle-eight.

Just Loud described "Soul Train" as "a rebellious record." Adding, "I want everyone to get up, move, and have a good time!" Whatever you say, Mr. Loud. Well, it is a definite head-bopper and -- as advertised -- could play a role in getting your caboose on the dance floor... dancing like back in the day.

"Ai, yi-yi-yi!"

As you board the "Soul Train" on the Rock ('n' Roll) Island Line, I leave you with the words of Don Cornelius by wishing you all "love, peace and sooooul!"

Jerry's Pick: "I Wouldn't Want To Be Like You"

"Wouldn't Want To Be Like You"-Sheryl Crow

When I first eyed the title to this new Sheryl Crow single I immediately assumed it was a cover-version of that classic 1977 Alan Parson Project track of the same name.

It isn't.

But, I did notice one small similarity. Both "Wouldn't Want To Be Like You"s were written about those who somehow exist without a heart or a soul. Parsons drew inspiration from science fiction author Isaac Asimov and is about robots. Crow's subject matter is instead about something way more cold... the self-serving, ostentatiously opulent assholes currently at Wall Street and in the White House. (And some, I assume, are good people.)

Conceived in an era when our government throws out terms like "alternate facts" and "fake news," Sheryl's composition seems oh so relevant. She explained to Billboard, "Wouldn't Want To Be Like You" is "about the climate of truth not being important anymore."

In an administration where gaslighting is standard operating procedure and making shit up a daily occurrence, Crow's hook sounds like it could have originated as a rallying cry at a protest gathering for the resistance.

"You tell a lie, you tell a lie, you tell a lie, that don't make it true..."

"Wouldn't Want To Be Like You" begins with a Gorrilaz hip-hoppy styled drum beat and features Sheryl occasionally rap-singing utilizing an infectious staccato cadence.

"Money is the monkey giving you a back ache... Money is the grease in the palm of a handshake..."

This isn't the first time Crow has dabbled in politics. In fact, I was a big fan of her cleverly written meeting-in-the-middle themed single "Halfway There" from last year, obviously inspired by today's bitterly divided political climate.

For me, the highlight of "Wouldn't Want To Be Like You" is the distorted guitar contributions from Annie Clark. The St. Vincent guitarist can also be heard on harmony vocals. Apparently Clark -- currently enjoying the immense success of her critically acclaimed Masseduction -- is just one of the many guests that Sheryl has invited to join her in the studio, all part of a collection of songs tabled for release sometime next year. "My forthcoming album features collaborations with many of my heroes, people who have shaped the past, present and future of music. It’s a dream lineup really."

Coincidentally, today marks the 25th anniversary of Sheryl's breakthrough album Tuesday Night Music Club which was released on August 3, 1993 and featured those Crow classics "All I Wanna Do" and "Leaving Las Vegas," pop music I consider timeless. This time around we're talking timely.

Jerry's Pick: "Boomin' In Your Jeep"

"Boomin' In Your Jeep"-Crystal Fighters

Attempting to piece together the perfect set-list for the next time you and your besties hit the highway -- whether it be for a music festival or an afternoon at the beach -- can be a bit tricky. But, if it's done correctly, the getting-there part can be a party in itself.

"We did it, we did it!"

Over the last few weeks I've been jamming to Crystal Fighters' joyously carefree single "Boomin' In Your Jeep" and realized this infectious bop would fit comfortably in the front seat next to such road-tested vehicle-themed rockers as "Radar Love," "Ramblin' Man," "Highway To Hell," even the Beatles' "Drive My Car."

"Beep-beep, ah, beep-beep, yeah!"

That made me realize -- as a Crystal Fighters fan -- the trio took a much different route with this track (which sounds poppy and more mainstream) than their singles from the past. For instance, 2011's "At Home" has a flowing ethereal feel to it. By contrast, "Boomin'" eminates an infectious sun-soaked party vibe not unlike DNCE's "Cake By the Ocean."

According to Crystal Fighters YouTube page, that was by design. "The song is about that feeling of freedom you get on a road trip driving into the sunset when you turn the music up and all your troubles fade away! It’s also a love song, about that magical time when everything is so new and you just want to follow that feeling all the way to its core (and) see what’s there to discover."

"Take a hit and press play!"

I think one of the reasons I immediately took to this high-octane, fun-in-the-fast-lane uptempo tune was because it triggered a few musical deja vu moments. Subconciously I heard shades of Imagine Dragons, Foster the People and Elliphant but none more lucent than M.I.A.'s "Paper Planes"... save the sounds of gunshots and cash registers.

To sum it up, "Boomin' In Your Jeep" is now your new volume-up/windows-down behind-the-wheel I-don't-care-where-we-go-let's-just-go Summertime jam!

By-the-way, last week I wondered out-loud (via my Twitter account) whether we'd soon be hearing "Boomin'" behind a new Jeep television commercial. Might as well as it's already a catchy three-minute radio ad. But the Crystal Fighters were quick with a response of "Not gonna happen."

We'll see.

Jerry's Pick: "Hideaway"

"Hideaway"-Geowulf

I intially discovered the breezy sounds of Geowulf after hearing a 30-second snippet of their 2016 track "Saltwater" behind a Corona Beer television ad. After adding the song to my iTunes playlist, my Google-led curiosity introduced me to the duo's latest single.

And perfect timing! Here it is, Memorial Day. The warm weather has arrived along with Geowulf's indie offering "Hideaway," their mind-altering escape that will transport your brain straight to the beach... for at least four-minutes a spin, that is.

Geowulf consists of Australian-natives and longtime friends Star Kendrick and Toma Banjanin who reconnected in England where they developed their sundrenched shoegaze set of alt-pop songs for their Great Big Blue album.

"We always knew we wanted to make guitar pop," Kendrick explains to The Line of Best Fit's Emma Finamore. "Really beautiful, lush sounding guitars. I think that's where the dream-pop sound comes from. It's not like we set out saying, 'Let's make it dreamy', we just ended up writing hazy melodies and using guitar."

What stood out for me was its dichotic disposition. Floatng lazily on top of those idyllic uptempo vibes are well-written lyrics with an infectious hook that tell the tale of heartbreak and unrequited love sung innocently and beautifully by Star.

"Shaking our foundation, gone the situation, starting to feel we're living a lie.
No idea what you're feeling, couldn't see anything changing, giving it all, I try, I try."

Says Kendrick, "The song is about feeling like you've been completely transparent with someone only to realize they haven't truly let you in." 

Aside from those jangly guitars, what I found most interesting about "Hideaway" was its ever-present marching drumroll-styled backbeat along with what sounds like someone playing with an audiowave by way of the variable knob on an oscilloscope. Sure, an unlikely set of ingredients in a love song, but it all came together to form a perfectly constructed, dream-inducing work of art.

"We take inspiration from lots of varying places," reveals Kendrick. "We both love Fleetwood Mac, Angel Olsen, Mazzy Star, ABBA, Jonathan Wilson, Beach House, The Beach Boys... the list continues."

It's time to take a break. Slide into your shades and sandals then grab a tall, cool one while you get that lazy-day, beach-vibe thing going-on in your personal "Hideaway."

Jerry's Pick: "Apocalypse"

"Apocalypse"-Cigarettes After Sex

If musicians were able to record their audio in black and white, I think it would sound something like this. Slow, smokey vocals lazily delivered over an echo-drenched background, an ethereal ambiance that we could dub "pop-noir."

I've been listening to this song for quite a while now and despite my occasional distance, it continued to haunt me -- calling me back -- until I decided to take action and firmly acknowledge its existance. So, here I am.

Although the Cigarettes After Sex track "Apocalypse" has been around for a few months, it was its recent addition to a handful of alternative rock station's playlists that brought this sensual, dark, brooding and very unique track to my attention.

"Apocalypse" is warm, delicate, hypnotic, sultry, meloncholic intoxication... part Mazzy Star, part Leonard Cohen.

It's a song that resonates in such a profound and poetic way about coming to terms with a past relationship. Although your heart is still broken, you've moved on, while also realizing you cannot totally let go. It evolks a good sadness that I can’t quite explain. I guess you could say there are still occasional tears, but they fall over a smile.

Songwriter Greg Gonzalez of Cigarettes After Sex explained to Christina Cacouris of Noisey his lyrics are personal. "I just dig in to whatever vivid memory I have and then extract a song from it." He went deeper; "It’s about your own feelings, just taking a good memory and crystalizing it, saying, ‘Things might have ended badly, but in this photograph, they were great'."

And then there are those five words...

"Your lips. My lips. Apocalypse."

I love the duality of that line. Is it a referrence to relationship heaven or hell? I guess it all depends on where your heart is at the moment you hear it.

Regardless, "Apocalypse" is a very powerful piece of mood-shaping music. Just remember to listen with the volume up high and the lights down low.

With apologies to Lori Lieberman, this is what I call a "Killing me softly with his song" song.

Jerry's Pick: "Make Me Feel"

"Make Me Feel"-Janelle Monáe

If you're one of the many who misses Prince's presence since his untimely death almost two-years ago, a hidden figure has come to your rescue.

I didn't realize it at the time but my ears were first exposed to the voice of Kansas City-born Janelle Monáe during the middle-eight of that 2011 fun. pop chart-topper "We Are Young." To be honest, I really didn't know much about this talented beauty until my eyes fell in love with her image on the big screen portraying NASA mathematician and engineer Mary Jackson in the 2017 Academy Awards "Best Picture" nominated film "Hidden Figures." (Bonus thrill: I discovered she was even more charmingly pulchritudinous when I had the thrill of meeting her at the Critics Choice Awards ceremony in LA last year! *sigh*)

Alongside her recent successes as an actress, Janelle had already proven herself as a model, singer, songwriter, rapper and record producer. Not only has Monáe credited Prince as her musical muse, but the two were working together on her new (soon-to-be-released) collection of songs (Dirty Computer) when he passed away.

Janelle explained to Rebecca Bengal of the Guardian, "It's difficult for me to even speak about this because Prince was helping me with the album, before he passed on to another frequency," but noted, "his spirit will never leave me."

And -- after first listening to Monáe's recently released single "Make Me Feel" -- I'm positive His Royal Badness would deliriously approve.

You'll first notice its tongue-in-cheek start, and I mean that literally. "Make Me Feel" kicks-off with mouth-clicks followed by a simple synth groove that'll transport you back to the 80s. In fact, the song immediately reminded me of Prince's 1986 million-seller "Kiss" with its very similar crisp and funky staccato guitar and oral sound effects... but instead of the clicks you hear on Janelle's record, Prince sent kisses. Plus Monáe -- who has described herself as a sexually liberated woman -- provides plenty of sensual Kinsey Scale fluidity that would make Darling Nikki blush.

"It's a celebratory song," she says. "I hope that comes across -- that people feel more free, no matter where they are in their lives, that they feel celebrated. Because I'm about women's empowerment. I'm about agency. I'm about being in control of your narrative and your body." 

Now, for those who might have forgotten, this is what the color purple sounds like.

Jerry's Pick: "Up All Night"

"Up All Night"-Beck

Here's a track that ain't exactly new. In fact, it's been in my iTunes rotation since last September. And to make me really sound like I'm late-to-the-party, an early version of this same Beck song was available via a FIFA video game toward the end of 2016. It was last week -- after noticing Beck's record label (Capitol) was finally putting its push to radio -- when I decided it was a good time to personally exude the awesomeness of "Up All Night."

The other reason for this post is to come to the defense of Beck. I mean, is there a genre that Beck hasn't yet slayed? You see, since "Loser" over 20-years ago, Californian Beck Hansen has become known as the ultimate alt-indie chameleon with studio creations ranging from folk and country to hip-hop and jig-saw jazz. But now -- with the release of "Up All Night" -- some of his longtime fans are screaming "sell-out!"

What's so wrong with making an extremely commercial power-pop dance single with vanilla lyrics and a catchy chorus? Cannot that be counted as one of Beck's ever-changing musical moods? I emphatically declare, "Yes, it can!"

Case in point: Daft Punk's "Get Lucky."

In fact, that was Beck's mission. He explained to Vulture.com, "I was trying not to be afraid of simplicity on this album (Colors). In those respects, the album is quite successful, as its sparkling production, bouncy rhythms and alluring melodies make it irresistibly celebratory and, well, colorful." He said he wanted "to make something that was uplifting, had a lot of energy, and made you want to sing along."

Mission: Accomplished.

Apparently Beck's inspiration for "Up All Night" was born after his first exposure to Pharrell's mega-smash hit "Happy" in 2013. But I recognized a couple of other popular party-anthems he may have subconsciously plagiarized along the way. Anyone else hear shades of "I Can't Feel My Face" (The Weeknd) and "I Can't Stop the Feeling" (Justin Timberlake)? You could also say there are hints of Passion Pit, Foster the People, Fatboy Slim and INXS with a George Michael "Faith"-like compressed-acoustic-guitar-power-strum-styled opening.

Sure, it's Beck's most mainstream single to date, but who cares?! "Up All Night" works. Wonderfully. It just comes with a ton of hashtags.

#Bright #Bold #Vibrant #Dynamic #Poppy #Funky #Festive #HighEnergy #FeelGood #YourNewDanceAllNightLongPartyAnthem #DriveWithTheWindowsDownSummertimeJam

In a nutshell: #Fun

Jerry's Pick: "Mystery of Love"

"Mystery of Love"-Sufjan Stevens

It’s truly unbelievable the effect that music can have on a person. I say this because my new favorite song just ripped my fucking heart out.

"Oh, oh whoa whoa is me..."

When I write about a particular tune I'm currently enamored with, I try to separate it from anything else it may be tied to, like a music video. But in this case, that was almost impossible.

The song is "Mystery of Love" which was written and recorded by Sufjan (pronounced SOOF-yahn) Stevens for the Academy Award nominated film "Call Me By Your Name," a coming-of-age story of a roller-coaster romance between Elio and Oliver set in 1980's Italy. This intimate recording -- paired with an emotional backdrop of innocence and a youthful summer love -- has the power to move through you in waves from deliriously happy to intensely sad and yet unapologetically hopeful. So much feels in just four-minutes.

In an interview with Olivia Dennis of Lindsay magazine, CMBYN director Luca Guadagnino revealed why he invited Stevens onto the project: "I wanted to have a narration that was not the banal usual literary narration," he said. "I wanted it to be more about something that really came from the soul. I wanted his epiphany in the movie and I had the privilege that he said 'yes'."

"Mystery of Love" (up for a "Best Song" Oscar next month) was recorded splendidly simple... a banjo, a guitar, a piano mixed with subtle strings and delicate vocals that are almost whispers, make this ballad all the more personal and agonizingly beautiful. Steven's lyrics -- which are full of symbolism -- are hopeful ("The first time that you touched me") yet hopeless ("The last time that you touched me.") But overall, the message ("Blessed by the mystery of love") seems to hint that going all-in with your heart is worth the pain that all too often supervenes.

No matter your gender or sexual orientation, I'm positive those with hearts that have been there will find Sufjan's intimation nostalgically familiar.

"Oh, will wonders ever cease?"

Yes, I'll admit it... "Mystery of Love" breaks my heart in all the right ways.