Monthly Report: July 2025 Singles

Wednesday, August 06, 2025

























1. Wolf Alice - "Bloom Baby Bloom" 
My ears perked up the first time I heard it on the radio, even having seen some reference to Wolf Alice's new single being a different sound for them, I didn't expect that it was them. Turns out this piano-driven track was produced by Greg Kurstin, who's an absolute genius in my book, so I'm excited to hear what the rest of the album sounds like. Here's the 2025 singles Spotify playlist that I update every month. 

2. GloRilla - "Typa"
Keyshia Cole's debut album turned 20 this summer, "Love" was always the classic single from that album but it's been fun to see it experience this renewed surge of popularity in the last few years and get sampled by a few artists, including GloRilla. 

3. Ty Myers - "Thought It Was Love"
Ty Myers is 17 years old singing about how his mortgage is due on his biggest single, which is kind of funny. But it's a lovely sad song with a great piano and strings-driven arrangement, he's definitely one of the most promising new country stars right now. 

4. Shaboozey - "Good News" 
"A Bar Song (Tipsy)" has been in the top 10 of the Hot 100 for almost 60 weeks now, and it seems unlikely that Shaboozey, or perhaps anybody else, will ever make another song that big. "Good News" hasn't gotten into the top 10, but it's now in heavy rotation on both country and pop radio, so he's at least escaping one hit wonder status, and honestly I like it more than "A Bar Song." I particularly like how "Good News" does that old-fashioned country ballad structure with verses in 7/8 and choruses in 4/4. And while I don't think Shaboozey had any political motivation for releasing this song right after the election, it does hit a little harder as the constant daily onslaught of bad news continues. 

5. Cardi B - "Outside" 
It's not "Not Like Us" or anything, but I like that Cardi managed to make a club banger out of how Offset sucks, it bodes well for the second album she's finally releasing in September. 

6. Maggie Lindemann - "One of the Ones"
Maggie Lindemann debuted 9 years ago with a straight-up pop single, "Pretty Girl," that was a top 10 hit all over Europe, and then most of her output since then has been mostly guitar-driven Hot Topic alt-pop of varying quality. "One of the Ones" was produced by Captain Cuts, the L.A. duo best known for Walk The Moon's "Shut Up And Dance," and it's a fast short techno pop song that feels like the career relaunch she's been looking for. 

7. Eric Church - "Hands of Time"
"Springsteen" is still the gold standard for Eric Church singles, but I don't mind him doing another nostalgic midtempo song full of references to classic rock songs. 

8. Kane Brown - "Backseat Driver"
I have to say, as a boring middle-aged father and husband, I do appreciate country's niche as the only corner of popular music where I can hear cute little relatable songs about how much the singer loves his kids. 

9. Maroon 5 - "All Night"
Everyone is collectively tired of Maroon 5 and their next album will probably be a real deal flop, none of its three singles are even in the group's Spotify top 10 right now. But I really like this saxophone-heavy trifle that was quietly released as the second single, my favorite thing they've done in quite a while. 

10. Morgan Wallen f/ Tate McRae - "What I Want" 
"Just In Case" is the best of the many hits from Morgan Wallen's latest album, but I also kind of like the awkward pop crossover duet with Tate McRae, mostly because the chorus sounds like it could have been roughly based on the "you don't want no part of this" scene from Walk Hard

The Worst Single of the Month: Benson Boone - "Mystical Magical" 
I actually like just about every other song on American Heart and find the whole Benson Boone backlash to be a little tiresome now, but releasing this song at all, much less as a single, was a choice. It's like the white male version of Rihanna's "Sex With Me," what the hell is bro doing.  

Friday, August 01, 2025

 





This week I interviewed Eyedress for Spin and also wrote about the Pogues for the Deep Cut Friday column. 

TV Diary

Thursday, July 31, 2025


 
























I feel like Netflix has pinned their hopes on The Revenant screenwriter Mark L. Smith being their Taylor Sheridan who will bring them some big popular red state dramas. I like "Untamed," a murder mystery set in Yosemite National Park, a bit more than Smith's other Netflix series from a few months ago, "American Primeval," Eric Bana and Sam Neill are good leads and the story has some decent twists and big emotional moments. I'm glad it got renewed because it feels like a potentially good longterm vehicle for Bana and Lily Santiago than a one-off or miniseries. 

b) "Washington Black"
Sterling K. Brown is one of the best actors in television right now so this show really comes alive when he's onscreen, but it's really just a small supporting role. Pretty good show, though, based on an award-winning novel about a guy who flees a Barbados sugar plantation in the early 1800s, and Iola Evans is really beautiful. 

c) "The Hunting Wives"
This Netflix show reminds me of a lot of other shows where a young housewife moves to a new town and gets mixed up with an affluent community full of dark secrets, this one takes place in Texas and is specifically about gun-toting Christian conservatives but otherwise fits right into a familiar formula. It's reasonably entertaining, though. 

d) "Leanne"
Apparently Leanne Morgan had a Netflix standup special that was pretty popular (though I don't think I'd seen her before other than a small roll in the recent Will Ferrell movie You're Cordially Invited), so they gave her a sitcom created by Chuck Lorre. As a longtime Lorre apologist, I found it moderately enjoyable but it's the same old same old, basically "Two And A Half Men" with female leads. 

e) "The Institute" 
This show is based on a Stephen King novel, it's about teenagers with telekinesis and other powers who get taken to some mysterious school, kind of a more sinister X-Men premise I guess. The theme song is a slow, ominous cover of a Tears For Fears hit besides "Mad World," I rolled my eyes pretty hard at that, but otherwise it seems like it might get good. Jason Diaz really has a powerful screen presence in this, I was surprised to look him up and see that he's mostly known for CW shows. 

f) "Electric Bloom"
A Disney Channel sitcom about three high school girls who start a garage band and then become hugely successful. Some of the jokes are pretty cheesy but it's reasonably charming, some of the songs are catchy, and judging from Disney Channel history, at least one of these girls is going to be a huge A-list celebrity in ten years. 

g) "The Wonderfully Weird World of Gumball" 
"The Amazing World of Gumball" is a classic in my household, my third favorite animated series of the 2010s, and Cartoon Network stopped making new episodes in 2019. Hulu's 'new' "The Wonderfully Weird World of Gumball" is fully just the exact same show with a slightly different title. And that's not a complaint at all, it's still delightfully absurd with a great distinctive visual style. 

h) "Karma" 
This Korean series is one of those crime thrillers where a bunch of strangers become connected through a series of coincidences, secrets, and tragedies, this kind of thing has been done better before but it's pretty good. 

This Spanish series on Netflix takes place in the 1880s and is kind of a more playful irreverent kind of romantic period drama that breaks the fourth wall, I like it. 

j) "Welcome To The Family"
A Mexican show about a family who forges a will when the husband and father dies, kind of a soapy dark comedy, not really to my taste. 

Netflix already did a documentary about the famous 2003 Beligum diamond heist that I didn't watch, but I enjoyed 

It's well known that labels will often put together 'songwriting camps' where writers and producers try to put together material for a big star's next album, sometimes collaborating but also competing with each other to come up with the songs that the artist will actually end up releasing. That's a fascinating part of the music industry and I love that Netflix made a reality show about it. "Hitmakers" is made by the same people that created the Netflix real estate reality show "Selling Sunset" and it has that annoyingly glossy, overly glamorous sheen, but it's still pretty interesting to me. Almost all the people on here have written huge hits although they're mostly not too well known in their own right (aside from Sevyn Streeter, who had some success as a solo artist), so it's interesting to see them onscreen, teaming up in different combinations to pitch songs to John Legend or Usher or Lainey Wilson. I was disappointed that NBC's "Songland" only lasted two seasons but this show feels slightly more true to how the music industry works. 

This, like HBO's other recent doc miniseries about Paul Reubens, is annoyingly split into two movie-length installments instead of being broken into normal TV episode lengths, which is a trend I do not care for. But this is great stuff, I'm a Billy Joel fan but his story turned out to be more compelling than I expected, I love that they were able to take the space to dig into his craft and his writing inspirations, even for some songs that weren't hits, and were able to pull in guys like Springsteen and McCartney in there to show their respect for Joel as a songwriter. One thing I really appreciated was that Joel's first wife and former manager Elizabeth sat for substantial interviews, she's such a big part of the story and I'm glad she was game to talk about it all and give her perspective. 

There have been so many retrospectives about Live Aid and the big charity singles of the '80s in the last few years that it feels like this 3-part CNN doc doesn't really have much new in there, but it's pretty engrossing and gives a good nuanced perspective and has some really interesting little anecdotes about how the day came together. 

This Netflix docuseries about London trauma centres is really intense and graphic, but it's also filmed in a really slick way to make it look almost like a scripted series, which I find a little jarring sometimes. 

Each episode of this Apple TV+ docuseries is focused on a different endangered species, some wonderful footage and stories but man I've spent my whole life being angry about how the dwindling numbers of endangered species, it's such a stain on humanity. 

One of the 'Magnolia Network' shows on HBO Max, where modern families cosplay as 1880s homesteaders, kinda tedious. 

I don't have any memory of hearing about these murders when they happened in 2022 but caught up on what happened when the killer was sentenced recently. Horrifying story, this Freeform docuseries interviews some people who knew the victims but it kinda seems like they're just filling out as much screentime as possible with what little information they have. 

I'm surprised I haven't already seen a bunch of true crime stuff before about this TV anchor who disappeared in 1995, crazy story. 

This recent docuseries on Hulu kinda feels like it's playing both sides, they interview families who put their kids on social media and show the criticism they get, but they also put them on TV and make them even more famous. 

This is another docuseries on the same topic (with the same 'kidfluencer' portmanteau that makes me feel queasy) that was on Netflix in April feels a little more sensationalistic, the Hulu one has its problems but is probably better overall. 

Apparently Showtime used to have a show about male escorts called "Gigolos," and after one of the gigolos caught a murder charge Paramount+ made a docuseries about it. The pipeline from reality TV gruel to true crime gruel is very real. 

The real story of a guy who hid a chest of gold in the Rockies and left clues hinting at its location, which seems just too ridiculous to be true, I feel like sometimes people just do obnoxious stuff because they want a documentary made about them. 

I feel like just when social media was finally no longer obsessed with YesJulz, Netflix put her on a "Basketball Wives" knockoff and made her more famous. 

y) "Polo" 
I think polo is an interesting sport that I don't know much about, but this Netflix show is much more interested in the upper class social politics of it all. 

I feel like sometimes these sports docs that spend a year with a particular team get lucky and end up documenting a historic season, but sometimes there's stuff like this where it's just another year and they try their best to make it seem interesting or dramatic. 

Monthly Report: June 2025 Albums

Wednesday, July 30, 2025
























1. King Gizzard & The Lizard Wizard - Phantom Island
King Gizzard & The Lizard Wizard has been so prolific for so long now that it's kind of mind-boggling to think that a band's 27th album is one of their very best and they've arguably only just hit their prime in the last few years and are still steadily growing in popularity. Phantom Island is their first time making an album with an orchestra and these songs seem really well suited to having all these strings and brass all over them. It's a little less proggy than a lot of their records, I think pretty much the whole thing is straight ahead 4/4, but there's a lot of room for the orchestration to add texture and drama. Supposedly this is a mellower counterpart to Flight b741 but I've found it pretty upbeat and catchy. I particularly "Panpsych" and "Aerodynamic" but the whole thing flows together well. King Gizzard pulled all their music off Spotify last week (more power to them for taking that stand), but Phantom Island and everything else are still on Bandcamp

2. Pulp - More
This album has grown on me a bit since I ranked Pulp's albums last month, although I think I'd still put it in the same spot, just belove We Love Life. I have eagerly greeted every new record from Jarvis Cocker over the last 20 years and never really pined for the band to return, but I will admit that there's a lovely familiarity to what Banks/Doyle/Webber bring to More, which probably reminds me of His 'n' Hers more than any other previous Pulp album. "Farmers Market," which is about the day Cocker met his wife, is really something, one of the most moving songs he's ever written, and some of the other slower songs ("Background Noise," "The Hymn of the North") hit pretty hard too. 

3. S.G. Goodman - Planting By The Signs
I never heard S.G. Goodman's first two albums, but my interest was piqued when I heard "Fire Sign" from her third album on WTMD. I like the sound of the album and the Kentucky twang of Goodman's voice. But my first listen of the album didn't really grab me until I got to the 9-minute closing track "Heaven Song" and was like shit, that's how you end an album, and listened more closely the next time I played it. I also really like "Snapping Turtle" and "Nature's Child," the duet with Kentucky indie rock royalty Will Oldham. 

4. Bruce Springsteen - Tracks II: The Lost Albums
Bruce Springsteen's 1998 box set Tracks was a dad rock event nearly on the same scale as The Beatles Anthology, 66 mostly previously unreleased songs from a major artist's vault -- I actually bought Tracks for my own dad that Christmas, and listening to the first disc of it, particularly those first few demos he made for Columbia, really set me on the path to becoming the big Springsteen fan I am today. And Tracks II actually dwarfs the previous box with seven full albums of almost completely unheard stuff. The last disc, Perfect World, is from sessions spanning 17 years, but otherwise each disc captures a specific period of time and pretty much is its own self-contained album, which I really appreciate and makes this more engrossing and digestible than the first Tracks (though that one may contain more top shelf songs overall). The long-rumored Streets of Philadelphia Sessions probably would've been a big hit on the heels of Springsteen's Oscar win, but I'm kind of glad this odd little experiment with Springsteen singing over trip hop beats and the "Ashley's Roachclip" break surfaced now as this intriguing little road not taken. As someone who thinks Western Stars is Springsteen's best post-Rising album, I also really love the disc from that era, Twilight Hours, and the first disc of stuff from between Nebraska and Born in the U.S.A. is pretty special too. Both Tracks boxes (149 songs in total!) comprise a pretty remarkable shadow discography that's bigger and better than a lot of artists' entire careers. 

5. Turnstile - Never Enough
I never saw Turnstile live or knew those guys, but I love that a band that used to play Charm City Art Space and the Sidebar like me and all my friends is now totally fucking huge, at this point possibly the biggest band to come out of Baltimore (I think Beach House are probably bigger by most metrics, but were never really in the zeitgeist as visibly as Turnstile are right now). And I probably enjoy their music more as they get further from hardcore orthodoxy, there's cello and flute and Hayley Williams popping up on one of the several songs that have that Andy Summers-style chorus pedal guitar effect that instantly makes a band sound like The Police. I particularly love when "Look Out For Me" takes a turn into a Baltimore club beat with a sample of Randy from "The Wire." And they still get pretty heavy on "Sole" and pretty fast on "Sunshower" as well. There's a show on MTV Live called "Metal Thrashing Madness" that regularly plays Turnstile videos, though, and that doesn't seem quite right. 

6. Little Simz - Lotus
I liked the previous Little Simz albums but didn't always love Inflo's production, and have always found Sault a little overrated. So this whole thing where they fell out over Inflo borrowing money from Simz for Sault's first concert and not repaying it, I feel bad for her but it's a net positive for me because I like Miles Clinton James's production on Lotus. And the righteous anger of "Thief" and "Hollow" makes for some of the most compelling music she's ever made. 

7. Georgia Beatty - The Book of Stars: Collection of the Heir
Georgia Beatty is a Baltimore musician who recently sent me her latest album (which is on Bandcamp), The Book of Stars: Collection of the Heir is mostly cello and voice and sometimes guitar, but it feels very ambitious and expansive. I especially like tracks like "Pin Hole Light" and "Yarro" where you can just kind of luxuriate in the deep, warm tone of the cello, that's one instrument I just love listening to with little or no accompaniment. There's a whole companion illustrated book of folktales that go with each song on the album, I don't have that but I think it's pretty cool that she's created this whole multimedia thing.

8. Matmos - Metallic Life Review
Matmos has made many albums with a conceptual hook, like building tracks exclusively out of sounds made with plastic objects or from surgery. Metallic Life Review is made entirely with metal objects, which of course gives them a little more leeway to use conventional instruments like horns, vibraphone or pedal steel guitar, though the sounds on this album are still largely pretty novel and unusual. I particularly like the way they shied away from obvious 'industrial' sounds for quieter clangs and reverberations. And it's lovely and bittersweet to hear Susan Alcorn on "Changing States" just a few months after her death. 

9. Jill Sobule - Fuck 7th Grade: Original Cast Recording
I wasn't too familiar with Jill Sobule's music besides her two hits when she died in May, but when I sat down to make a deep cuts playlist soon after, I really fell in love with a number of her songs and mourned her. Sobule hadn't released an album since 2018, but in 2022 she unveiled her musical Fuck 7th Grade, which was nominated for a Drama Desk Award, and the cast recording was released posthumously. Many of Sobule's songs are autobiographical, so it feels very natural for her to string together some songs from her album and some new compositions into a narrative arc, and it ends with the same beautiful song that I ended my playlist with, "A Good Life." 

10. Juicy J & Logic - Live And In Color
When I interviewed Logic a year ago, I asked him about Juicy J turning his voice into a producer tag, and he revealed that they're actually pretty good friends and had been working on album together. Juicy J is such a legend in the Memphis crunk lane that he helped create that I don't think anybody really cares if he diversifies his sound, but it's actually pretty fun to hear him experiment with his sound on last year's jazzy, Robert Glasper-assisted Ravenite Social Club and now the album with Logic. Logic had Juicy J do his usual cadences on the kinds of beats he usually raps on, and then put the vocals on Logic's beats that had, in his words, "Dilla/Tribe vibes," which really sounds pretty dope, it was a clever way to fuse their styles together organically. 

The Worst Album of the Month: Keke Palmer - Just Keke
Keke Palmer has been singing as long as she's been acting. And as her film career has thrived in the last few years, it feels like she keeps trying to pull a J.Lo and leverage that into success in music as well and it's really just not happening. 2023's Big Boss was a decent, slightly dated R&B album, she can definitely sing. But Just Keke is a real chore to listen to, partly because there are all these interludes where she tries to remind you she's personable and funny and that social media was briefly obsessed with her relationship with her kid's father, before she goes back to singing these bland, mediocre songs.

Saturday, July 26, 2025

 





I wrote a Stereogum piece about Crazy Frog Presents Crazy Hits, which just turned 20. My favorite reaction to the article is from someone who tweeted to me that they were actually at the meeting at the ringtone company where it was decided to change The Annoying Thing's name to Crazy Frog. 

Friday, July 25, 2025










This week on Spin, I ranked Black Sabbath's albums (R.I.P. Ozzy). I also ranked Paramore's albums, and wrote about an early Billy Joel track for Deep Cut Friday

Movie Diary

Thursday, July 24, 2025

 






a) Sinners
This is one of those rare occasions I kinda wish I had gotten out to see this in the theater, but it was great at home too. Ryan Coogler has gone above and beyond in his work on franchises and based on true stories, but this is his career-defining statement, an unapologetically pulpy horror flick that weaves history and race and music into a story that turned out more emotionally resonant than I expected after the smoke cleared. Even Michael B. Jordan's duel role as twin brothers, a very popular Hollywood flourish these days, felt like an earned and necessary storytelling device by the end. The whole ensemble was great, particularly Hailee Steinfeld, Jayme Lawson, Delroy Lindo, Jack O'Connell, Li Jun Li, and that great little acting turn by Buddy Guy. 

b) Opus
Opus was written and directed by Mark Anthony Green, who used to profile pop stars for GQ, so I was really rooting for it as someone who has also profiled pop stars for GQ, aside from the fact that it stars Ayo Edebiri and John Malkovich in an intriguing premise. I can understand why Opus has gotten withering reviews, because at times it does feel like Midsommar or The Menu if they were set in the music industry, and I feel it's a big miscalculation for A24 to make a movie that so readily reminds people of another A24 movie. Malkovich played a Bowie-esque reclusive pop star (with songs by Nile Rodgers, no less) was pretty fun, though, and I think the movie got a little closer to having a real idea driving it than some people gave it credit for. 

c) Fountain of Youth
So many of Guy Ritchie's movies stick to his particular signatures, but it was fun to see him kind of let loose on someone else's formula, he really threw himself into making a very derivative but entertaining pastiche of National TreasureIndiana Jones, and other movies in that vein. If this had been in theaters instead of on Apple TV+. I would have sat there chomping popcorn and enjoying myself, even if it got a little overbearingly predictable in that CGI-heavy third act. 

d) KPop Demon Hunters
The girl group Huntr/x currently has four songs on the Hot 100, including one in the top 5, which means that they're arguably the most successful K-pop group in America since the big one, BTS. But they're not a real group, they're the protagonists of a wildly popular animated feature on Netflix. I'm not entirely sold on the music, but the movie is cute and funny, I like that something like this has taken off. 

e) Captain America: Brave New World
Yeah this was rough, I don't know if I would call it the worst MCU movie but it was definitely down in the lower tiers. 

f) Every Time You Lose Your Mind: A Film About Failure
These days, it feels like a big pitfall of music documentaries is that it's sometimes possible for the subject of the film to have too much control over the final product, getting in the way of a filmmaker presenting an objective and/or interesting perspective on their story. Failure frontman Ken Andrews has a background in film (he directed a bunch of Ice-T videos back in the day) and directed the feature about his own band, but I think it turned out pretty well. I saw the "Stuck On You" video on 120 Minutes back in the day and eventually checked out Fantastic Planet after it became known as a cult classic, but I didn't know much of their story or the niche they carved out at the time (including making their first album with the late Steve Albini, who's in the movie, or touring several times with Tool). There are a lot of familiar beats here (label woes, drug addiction, reuniting and finding a younger new audience) but the sincere enthusiasm of talking heads like Hayley Williams and Matt Pinfield and Margaret Cho really help you get to the heart of what's musically interesting about the band. 

g) Brick
This German horror movie on Netflix stars a couple actors I'd seen in the American action flick Army of Thieves. It starts out with a reasonably intriguing "Twilight Zone"-ish premise with a couple waking up one day to this big impenetrable black wall outside of all their doors and windows. But as they break through the walls to other apartments in the building, and find their neighbors trapped in the same bizarre situation, it just gets tedious and full of annoying predictable conflicts and I just completely lost interest by the end.  

h) Flight Risk
Mel Gibson had a reasonable amount of filmmaking ability at one point but it's just hilarious how hapless this movie is. I felt bad for Michelle Dockery and Topher Grace that they took the paycheck to make it halfway tolerable. And as a bald American, I resent the stolen valor of Mark Wahlberg just shaving off a patch of his full head of hair, he looked ridiculous. 

Saturday, July 19, 2025

 




The August 19th release date of my book Tough Breaks: The Story of Baltimore Club Music is just a month away now, and Stereogum has published a 4 thousand word excerpt that includes the previously untold story of how Tierre Brownlee gave Unruly Records its name. Thanks also to Resident Advisor and Steal This Music Taste for their recent posts about the book. Preorder it here

Friday, July 18, 2025

 




For this week's Deep Cut Friday, I wrote about "Rocket Queen" by Guns N' Roses. 

Monthly Report: June 2025 Singles

Wednesday, July 16, 2025























1. Sabrina Carpenter - "Manchild" 
As someone who always had mixed feelings about "Please Please Please," I rolled my eyes the first time I played the lead single to Sabrina Carpenter's forthcoming album and it was another shrill trebly country/indie pop Jack Antonoff production instead of one of her better-sounding Julian Bunetta or John Ryan tracks. But the video, easily the best music video I've seen this year, helped hold my attention, and by the time they synced the crash cymbal in the chorus to Carpenter shooting across a pool table with a shotgun, I was sold on the song as well. This song rules, there's so much casual pop craft here, the two verses have completely different vocal melodies and the first one has a pre-chorus that never repeats. I will say, though, most misandrist pop songs are about cheating cads so I can enjoy them without feeling implicated, but I am an absent-minded doofus often enough that I worry that if my wife heard this song she might identify with it. This song also makes me think about reading in the '90s that so many magazine articles referred to Beck as a 'manchild' that he started performing the song "Asshole" with 'manchild' in place of the title lyric. Here's the 2025 singles Spotify playlist I update throughout the year. 

2. Hudson Westbrook - "House Again"
Hudson Westbrook is a 20-year-old Texan who moved to Nashville and signed with an independent label, wrote a sad little breakup song inspired by his parents' divorce, racked up 40 million streams with it by the time a major label signed him, and is releasing his debut album later this week. He also did a version of "House Again" with Miranda Lambert that he released alongside a cover of her signature song "The House That Built Me." He's off to a good start, and I'm definitely interested to see where his career goes. 

3. Sombr - "Back To Friends"
Sombr is another 20-year-old kid who just blew up in the last few months -- his ridiculous stage name and matinee idol cheekbones make him seem vaguely like a parody of a pop star from a movie, but I really like "Back To Friends." It and another similar but far less catchy Sombr song, "Undressed," entered the Hot 100 a week apart back in April. And as they kept racking up big streaming numbers, I heard both on the radio for the first time on the same day in May, "Back To Friends" on an alternative station and "Undressed" on a Top 40 station. Both songs are still doing really well and from week to week it's hard to tell which one will ultimately be remembered as his first big hit, but I know which one I'm rooting for. 

4. The Weeknd - "Cry For Me"
It wasn't until I started putting together the S.O.S. Band deep album cuts playlist that I posted the other day that I realized that "Cry For Me" is built on a sample from an obscure S.O.S. Band track from the early '90s. I kind of feel like these days the Weeknd is mostly veering between his signature slow creepy R&B and his pop songs in the uptempo "Blinding Lights" vein, but this song really works because it's pretty fast and danceable but still really cinematic and ominous. 

5. Megan Thee Stallion - "Whenever"
I feel like people have gotten weirdly nitpicky about Megan's output, I don't know why people would rave about "Bigger Than Texas" but hate "Whenever," I feel like they're both an example of a great rapper picking a track they'd sound fantastic on, love the Ms. Cherry sample. 

6. Pluto & Ykniece - "Wham Whamiee"
Another song that went mainstream recently referencing an old Atlanta regional hit that never really went national, in this case Mook B from D4L's "Whim Wham." I'm such a huge Zaytoven fan, I love that he's got a hit like this a full 20 years after "Icy." And Pluto's album is pretty good, I feel like she's a real music head who's doing her best with her skill set, I think it's kind of a shame that she set herself up to be looked at the same way Sexxy Red is by putting her on the remix. 

7. Keith Urban - "Straight Line"
It's been a minute since Keith Urban did one of those high energy anthemic songs in the vein of "Somebody Like You" and "Days Go By" and that's always my favorite shit from him, he just needs an excuse to really cut loose on the guitar solo. 

8. Mariah The Scientist - "Burning Blue"
Mariah The Scientist has definitely been building a bigger fanbase and inching closer to chart success for the last few years, but it was surprising to see this song just instantly surpass anything she'd ever released before in both streaming and radio numbers. Also interesting that she's kind of part of a power couple with Young Thug but she's blowing up while the buzz around his new music has kind of cratered. 

9. Mariah Carey - "Type Dangerous"
Strange to find ourselves in a moment where Mariah Carey has a new song but a different Mariah is outperforming her on the Hot 100! She'll get her revenge in December, though. Carey is a great songwriter but I do think she needs the right collaborators in her corner and making music with Anderson.Paak is probably gonna be good for her, I'm interested to hear what else they do together. 

10. Ariana Grande - "Twilight Zone"
"Warm" is by far my favorite new song from the deluxe version of Eternal Sunshine, but I do like hearing this one on the radio. I saw a review of this song that described it as "chillwave-adjacent" and I feel like people will just say that about absolutely anything now. 

The Worst Single of the Month: Alex Warren - "Ordinary"
I feel like it's kind of an easy target to use this space to single out the very unhip current #1 song in the country, but yeah I'm sick of changing the station when this comes on. "Burning Down," the minor hit about Alex Warren's TikTok creator house figuratively burning down, is probably worse than "Ordinary," but "Ordinary" is a lot more annoyingly ubiquitous. 

Deep Album Cuts Vol. 390: The S.O.S. Band

Tuesday, July 15, 2025

 





The S.O.S. Band's catalog returned to streaming services in April to celebrate the 45th anniversary of their debut single "Take Your Time (Do It Right)," so I wanted to jump in and explore their music beyond that run of classic singles. 

The S.O.S. Band deep album cuts (Spotify playlist):

1. On The Rise
2. Can't Get Enough 
3. I Wanna Be The One 
4. Nothing But The Best
5. I'm In Love
6. Feeling
7. If You Want My Love
8. Sands Of Time
9. Goldmine
10. Do You Know Where Your Children Are?
11. Open Letter
12. Looking For You
13. Who's Making Love
14. Body Break
15. Are You Ready (featuring Kurupt)
16. It's A Long Way To The Top
17. Love Won't Wait For Love

Tracks 5, 11, and 17 from S.O.S. (1980)
Tracks 10 and 16 from Too (1981)
Tracks 2 and 12 from III (1982)
Tracks 1, 7, and 13 from On The Rise (1983)
Tracks 6 and 14 from Just The Way You Like It (1984)
Tracks 4 and 8 from Sands Of Time (1986)
Track 9 from Diamonds In The Raw (1989)
Track 3 and 15 from One Of Many Nights (1991)

The S.O.S. Band (the name stood for "sounds of success") were from Atlanta, and were one of the biggest acts on Clarence Avant's label Tabu Records. The members of the S.O.S. Band wrote and produced a lot of their own material, but they were also the first act that Jimmy Jam & Terry Lewis wrote and produced for outside of The Time, beginning on III. In fact, the famous story is that Prince fired Jimmy and Terry from The Time when they missed a gig, because of a freak snow storm in Atlanta while they were in the studio with the S.O.S. Band. 

Jam & Lewis made 14 songs with S.O.S. Band and 12 of them were singles, they were on some proto-Neptunes shit where they'd do the singles and then let other people do the rest of the album. So "Sands of Time" and "Nothing But The Best" are the only deep cuts by the band produced by Jam & Lewis. Those songs were also both sampled on songs by Ed O.G. and the Bulldogs.  

"I Wanna Be The One" was sampled on The Weeknd's current hit "Cry For Me," and "Do You Know Where Your Children Are?" was sampled on Max B's "I Ain't Tryna." Kurupt from the Dogg Pound made his on-record debut on three songs on 1991's One Of Many Nights before he linked up with Death Row and appeared on The Chronic, and I included one of those songs, "Are You Ready." Legendary James Brown/P-Funk sidemen Fred Wesley and Maceo Parker played horns on "I'm In Love," "Open Letter," and some other songs on their first couple albums. Lead singer Mary Davis left for a solo career and didn't play on their last two albums, but these days it appears that when the S.O.S. Band tours, Davis is the only member of their classic '80s lineup that's still in the group (and she took a break from the band after suffering a stroke in 2021). It's not really clear who among the band's founding members is still alive and musically active, but saxophonist Willie "Sonny" Killebrew passed away last year. 

TV Diary

Monday, July 14, 2025

 






Lena Dunham is more talented as a writer than as a performer, but making someone else the lead actor in her projects isn't an instant upgrade -- Sharp Stick for instance was terrible. "Too Much" really benefits from Megan Stalter from "Hacks" playing the lead in Dunham's very autobiographical new series, though (Dunham is also in there as the main character's sister). As far as Netflix shows that trace the messy yet charming arc of the beginning of a relationship, "Too Much" ranks somewhere below "Love" and "Nobody Wants This," Dunham's signature pathological self-obsessed oversharing eventually kinds of overwhelms the show and makes it exhausting, but Stalter's great. 

Both the times I've seen Taron Egerton play American characters were on Apple TV+ dramas, "Black Bird" and now "Smoke," and both times I feel like I can't tell if his American accent's bad or if he was just miscast as a character that he's not very believable at playing. It's actually gotten worse with each progressive episode, because the rest of the cast is spot on. Jurnee Smollett playing a total badass is great, I think she's ready to be the lead in a big action movie. 

I feel like Carrie Coon is the latest great actor who's been underserved by "The White Lotus," she never gives a bad performance but it felt like she just got a couple good scenes out of a character that ultimately felt like filler in an overstuffed ensemble. So I'm glad HBO still has her doing great work as the politely manipulative and scheming Bertha Russell on "The Gilded Age" as well, and she gets to wear big crazy hats too. 

"The Buccaneers" is set only maybe a decade earlier than "The Gilded Age," but it's more deliberately soapy with a modern soundtrack, not nearly as good a show but I enjoy it too. Adding Leighton Meester to the cast almost isn't fair, as if the show wasn't already full of devastatingly pretty faces. What's interesting, though, is that right now I think the show's most interesting romantic subplot is the one between two of the oldest members of the cast, Amelia Bullmore and Greg Wise have great chemistry. 

I forgot how much I liked this show, glad it came back for a second season since you never know with British shows. Kat Sadler is brilliant and Carla Woodcock and Freddie Meredith are probably the most consistently funny members of the cast. 

This Polish series does the 'rich person's life and marriage fall apart' thing that we've seen in a million shows, but the first episode is pretty memorable and gripping, great unhinged performance from Malgorzata Kozuchowska. 

A pretty promising French mystery thriller on Netflix starring Isabelle Adjani, I'm not far enough in it to make much of a judgment but I'm intrigued by the premise of a woman finding out the man she's accused of killing was her father. 

A good old-fashioned heist show from Spain on Hulu, lots of beautiful scenery and good uses of music and Silvia Alonso is gorgeous. 

Teen dramas from other countries feel a little less self-consciously silly than the ones in America, this Spanish show about elite athletes at a training facility is pretty good. 

Another show from Spain! A pretty good workplace comedy about a teacher at a cutthroat prestigious school, Cecilia Suarez is beautiful and they put her in these big goofy glasses to unconvincingly deglamorize her on some She's All That shit. 

This Danish series on Netflix does a good job of just presenting the human-level consequences of sea levels rising without being overtly about 'climate change.' 

A Japanese show about a charming, charismatic murderer, doesn't really put an interesting spin on the concept like "You" so I got bored with it quickly. 

A charming Taiwanese show about a woman who turns her life into a standup comedy routine. 

I love a good "former spy gets pulled into a mystery" plot, and this is about a retired Italian intelligence officer who investigates her son's death. 

Another good trope is "former gangster goes back to his old life for revenge," and this Korean show about a guy avenging his brother has some pretty great action scenes. 

There are a ton of new shows and features about sharks on Netflix and Nat Geo this month, I thought maybe they were just trying to steal Shark Week from Discovery, but I guess it's mainly because of the 50th anniversary of Jaws. This Netflix reality competition is probably the silliest of all the new shark shows, where teams go under water and compete to find and photograph different types of sharks. My wife and kids used to play Pokemon Snap a lot, so this kind of reminds me of a real world version of that. 

Based on the name I figured this was just a "Making The Band" knockoff or rebranding that wanted to avoid the stigma of being associated with Diddy. But I actually really like this because the whole concept is that singers choose each other to start groups with, so the whole thing is built on mutual appreciation more than competition from the jump. It's still a little derivative (it's sort of like "Love Is Blind" crossed with "The Voice"), but it works, and AJ McLean was always my favorite Backstreet Boy, he's a good host. I haven't gotten to the episodes featuring Liam Payne yet but I like that they did a nice message remembering him at the top of the first episode. 

This TLC docuseries about people in their 20s, 30s, or 40s who haven't had sex is oddly kind of heartwarming and empathetic, just telling these stories about their lives and why they're still virgins, showing their attempts to go on dates and find love. Despite the title and the concept, it feels like the show really treats everyone with dignity and doesn't reduce them to their virginity. 

A sort of NBC news magazine series profiling people who survived storms and natural disasters. The first episode is about the 2011 Joplin tornado and tornado stories are always interesting to me, those things are terrifying. 

I kinda miss Jim Jeffries having his own shows, but it feels a little like a waste of his talent to have him host a Fox reality show that's a blatant knockoff of "The Traitors. 

I feel like police finding a bunch of cocaine on a private jet can't be such an unusual occurrence for it to be a whole Netflix docuseries, like doesn't this kind of thing happen all the time? 

A wealthy Argentinian woman was found strangled to death in her home in 2006, and the murder is still unsolved. Again, it feels like Netflix barely had enough story here for a film but managed to milk it for a whole miniseries. 

Now, a crooked mortician accused of fraud and desecrating bodies, that's a docuseries, it's clear HBO Max still really knows how to do this kind of thing a lot better than the docs that Netflix craps out. 

The Philippines is such a unique and interesting nation and it's been on the world stage for some pretty bleak reasons in recent years, so it's nice to see a Netflix series just celebrating its arts and music and cuisine and culture. 

I haven't seen Jane Seymour in anything in a long time, it's nice to see her doing well and hosting this show where people go through their ancestry and kind of openly confront some of the more complicated and sordid stories they find. 

I have a vague memory of the original "Walking With Dinosaurs" from 1999, I guess this is the same basic idea, I guess it's pretty scientifically accurate but I hate the visual style of the CGI dinosaurs. 

Saturday, July 12, 2025
Cassowary Records · western blot - hit em: impossible

 



I made a hit em version of the "Mission: Impossible" theme, rest in peace Lalo Schifrin. I made a hit em DJ set a couple months ago. 

Friday, July 11, 2025

 




For this week's Deep Cut Friday, I wrote about the My Chemical Romance song that Gerard Way said should have been on The Black Parade. I also ranked 50 Cent's albums and added Talkin to the Trees to my ranking of Neil Young albums

Tuesday, July 08, 2025

 





I previously announced that my book Tough Breaks: The Story of Baltimore Club Music will be out on August 19th, and this week there is a Barnes & Noble sale on preorders of the paperback or eBook

Movie Diary

Monday, July 07, 2025

 






a) The Ballad of Wallis Island
Director James Griffiths and actor/writers Tim Key and Tom Basden made an award-winning short film in 2007, The One and Only Herb McGwyer Plays Wallis Island, and 18 years later they turned it into a feature that's currently on Peacock, and it's really good. I kind of use the word 'dramedy' as a pejorative sometimes because there are so many 'grown up' movies that are all both sad and droll in the same ways, but The Ballad of Wallis Island really deftly mixes together tones. Tim Key's character is a little eccentric and embarrassing, a lottery winner who books his favorite folk duo for a private reunion performance, and there are a few moments where I laughed really hard at the unpredictable things that come out of his mouth. But there's a lot of emotion in the story that comes out in a gradual and unforced way, and things between Basden and Carey Mulligan's characters don't really go where you expect, it's a lovely little movie. 

b) Echo Valley
Echo Valley is a thriller on Apple TV+ written by "Mare of Easttown" creator Brad Ingelsby. It has a couple of decent plot twists -- I liked the smaller twist midway through the movie, but I saw the big one at the end coming a mile away, and it would've been a more satisfying movie if they'd gotten to it more elegantly or unexpectedly. It's by far the best performance I've ever seen from Domnhall Gleeson, he's kind of casually menacing and unpredictable in a really charismatic way, and there's a charge to all the scenes he's in. But a lot of the movie is Julianne Moore and Sydney Sweeney playing these one-note characters that are much harder to watch, a put-upon mother and her troubled daughter. 

c) Nonnas
This Netflix movie is the kind of Vince Vaughn movie that used to be in theaters, a charming low stakes comedy about a NYC guy grieving his mother who decides to open a restaurant where Italian-American grandmothers cook their favorite recipes. One of those movies that just knows it has a strong premise and a great ensemble cast and just tries to not get in the way of that. And listen, Susan Sarandon...still got it! 

d) Predator: Killer of Killers
My wife hadn't seen Prey, but she saw an ad for Dan Trachtenberg's animated follow-up Predator: Killer of Killers and was excited about it, so we watched both movies back-to-back. Killer of Killers is pretty fun, I don't think I liked it as much as she did, but I dug the animation style and the way they made it seem like an anthology and then tied the three stories together, that was fun. Definitely excited to see what Trachtenberg does with the next theatrical live action Predator movie later this year. 

e) Mountainhead
Mountainhead is "Succession" creator Jesse Armstrong's directorial debut (surprisingly, he didn't direct any episodes of the series even though he wrote most of them). And it feels very much like he had an idea for an episode that he never found a place for in the series and decided to burn off as a standalone movie, sort of like when Aaron Sorkin would force "West Wing" episode ideas into "Studio 60" episodes. But Mountainhead is pretty good, makes excellent use of every member of its small cast of four (Steve Carell, Jason Schwartzman, Cory Michael Smith, and Ramy Youssef), even if I feel like the story ran out of steam once Armstrong got the points across that he wanted to. 

f) Becoming Led Zeppelin
This doc does a pretty great job of sort of stepping away from the larger-than-life mythology around Led Zeppelin and just explaining how the band happened, all the music that influenced these guys and all the headwinds in rock culture and the music business that made it possible for them to show up and just become a phenomenon. It's a little flat and straightforward, but again, that almost kind of serves the approach they took, and it's cool that they got good substantial interviews with the three living members of the band -- I'd never heard John Paul Jones talk much before and I just kinda love the sound of his voice. Apparently the filmmakers went to great lengths to find some rare John Bonham interview audio so that his voice could be part of the movie along with his bandmates, and I'm really glad they did that, although I wish there was more of that in there. 

g) Bono: Stories of Surrender
Bono is pretty divisive as far as frontmen of huge bands go, but I have a higher tolerance for his hammy charisma than a lot of people do, partly because I think U2 has a fantastic and unique sound. So I went into this expecting to enjoy it about as much as a U2 concert, but I did not. I sort of expected he'd do something stripped down like Springsteen on Broadway, but it's a pretty big production with an orchestral backing band and a seasoned film director, Andrew Dominik, making it all very lavish and cinematic and more than just footage of a stage show. But Bono comes out of the gate singing fucking "Vertigo" and it takes quite a while for him to do a rendition I like of a song I like, it just didn't do much for me on a musical level, impressive as it was. 

h) On The Count of Three
I've seen a lot of Jerrod Carmichael's standup and various TV projects, but somehow I totally missed that he directed a feature film, On The Count of Three, in 2021. It's about two friends who are both depressed and suicidal and make a suicide pact, and Carmichael and Christopher Abbott are really funny together. But I thought the first half was much better than the second half, where it feels the screenwriters wrote themselves into a corner and did this generic action movie climax and then ended the story with a shrug. 

i) Red Rocket
I liked Sean Baker's earlier movies Tangerine and The Florida Project, and had mixed feelings about Anora after its big triumph at the Oscars, so I was curious to go back and see the movie in between that I'd missed, Red Rocket. And man, I don't know. The accolades this movie got look kinda crazy to me now. Around the time Baker made Red Rocket he very explicitly talked about his personal mission to "tell stories that remove stigma and normalize" the lives of sex workers and other marginalized people, which I think really reaffirmed the sense a lot of people had that he's doing really brave, important work. But Red Rocket, I don't know, it's a film that has about as much respect for its characters as your average Farrelly brothers comedy. I'm not one of those people who thinks a movie is inherently flawed or problematic because the protagonist is flawed or problematic, but if you made a personification of all the negative stereotypes about adult film stars, that would basically be Simon Rex's character in this movie, a foolish and compulsively dishonest loser who spends the whole movie stealing from people and grooming a teenager. Again, I'm not offended per se, but I didn't feel like the direction or the acting really elevated the subject matter, it all felt kind of snide and lurid but not particularly funny.  

j) Talk To Me
Few things get me more excited to see a movie than a horror movie that comes out of nowhere to become a big word-of-mouth success. Talk To Me was pretty good but I don't know, pretty quickly after the premise was laid out, I got a little bored with it and was just kinda riding out the fact that the acting and direction was good without being on the edge of my seat or caring about the face of the characters. Like the ending was really well done, but it was also really easy to see where it was going, so it didn't feel as satisfying as a classic horror movie ending. Also, the movie subjects you to just a ton of terrible Australian hip-hop. 

k) Beau Is Afraid
As much as I loved Hereditary and Midsommar, I was not in a rush to set aside three hours to watch Beau Is Afraid after all the middling reviews or even just the poster that looked like total dogshit. But I'm glad I finally got around to it, it's definitely not as good as Ari Aster's first two features, but I found it pretty compelling in just the sheer volume of disturbing imagery and scenes that the movie inundates you with. That said, I kept thinking about how it would've taken just a couple different casting decisions and a different directorial tone and this would be a full-on comedy, albeit a pretty dark comedy, and I almost wanted to see a version that took itself less seriously. 

l) Anatomy of a Fall
I kind of figured that the instrumental version of 50 Cent's "P.I.M.P." in Anatomy of a Fall was this fleeting minor thing that people talked about a lot because it was such an odd musical choice, but no, it's genuinely something you hear for a substantial stretch of the film and becomes an actual significant plot point. I liked it, but I dunno, it didn't really feel like a Best Picture nom to me, like if this exact same movie was made in America with an American cast, I don't think it would've gotten the level of awards love it got, it would be looked at as just another courtroom drama. 

m) The Ritual
A movie called The Ritual just came out in theaters but this is a different one from 2017. My wife read something about it and was intrigued and wanted to watch it, and I'd seen and enjoyed director David Bruckner's other movie The Night House, so I was down. Pretty solid horror movie about four friends walking through a creepy European forest, lots of great atmosphere and good scares. I particularly liked the dream sequences where Bruckner would kind of combine the forest location with other locations from the character's memory in these surreal ways. 

n) The Pale Blue Eye
The Pale Blue Eye is based on a novel that's one of those 'historical fiction' things that places real people in fictional situations -- specifically, a young Edgar Allen Poe (played by Harry Melling) assists a detective (played by Christian Bale) in investigating murders at a military academy. A decent little mystery plot, but the whole Poe aspect feels tacked on and pointless. But Melling is really well cast, I'd watch him in a Poe biopic. 

o) RRR
Took me a couple years to check this out after its big Oscar run, but I'm glad I did, the musical sequences are so over-the-top and cool. The way they put Indian historical figures into this colorfully stylized, heightened reality was a much more interesting way to combine fact and fiction than something like The Pale Blue Eye

p) Robot Dreams
I didn't like this as much as Flow, the other recent word-of-mouth hit European animated movie with no dialogue, but it was pretty good. As a big Wall-E fan, though, I'm just starting to reckon with how much fiction there is that aims to make the audience sympathize with a robot's emotions and how I feel about that given all the moronic shit people are doing with artificial intelligence these days, including believing it's their girlfriend or boyfriend or therapist. 

q) Mufasa: The Lion King
I don't begrudge directors for taking big money gigs, if this is how Barry Jenkins gets the kind of financial freedom he deserves for making Moonlight, cool. But a live action/CGI remake of a Disney animated classic that's patterned after The Godfather Part II definitely feels like something of a waste of a talent, and I feel like Moana 2 would have benefited from Lin-Manuel Miranda's songwriting more than this did. 

Friday, July 04, 2025

 





Debbie Harry just turned 80, so I wrote about Blondie's "Fade Away and Radiate" for Deep Cut Friday. Also for Spin this week, I ranked Missy Elliott's albums and wrote about songs by Prince, De La Soul, and Fela Kuti for a list of songs about peace

Monthly Report: May 2025 Albums

Thursday, July 03, 2025





















1. Ben Kweller - Cover The Mirrors
Ben Kweller is a few months older than me, and when we were both 15 and I was playing in my first garage band, I'd see him on MTV News and "Late Night with Conan O'Brien" with his band Radish. After Kweller went solo, I saw him play a great show with Brendan Benson at a bar in Baltimore when he was 21 (I was 20, so security put the Sharpie X's on my hands). I wouldn't say I've followed his career too closely over the years, "Falling" was always the one song I'd come back to now and then, love that one. But I always liked and related to Kweller, and my heart broke hearing about his teenage son Dorian dying in a car accident a couple years ago. Cover the Mirrors is Kweller's first album since that tragedy, and I was holding it together through most of the album, but man, that closing track "Oh Dorian" really made me cry. Kweller's voice is eternally boyish even now in his forties and still makes crisp, catchy pop/rock, so there's this sort of indefatigable sweetness to the album, even when he's singing about depression and going through something absolutely awful. This is in my 2025 albums Spotify playlist along with the other albums in this post. 

2. Aminé - 13 Months of Sunshine
Sometimes I feel like people are too obsessed with seasonally appropriate music in hip-hop, I hear a lot about how so-and-so should only drop in the summer or this song shouldn't have come out in the winter. But I will say, pretty much every Aminé album has come out between May and August and that feels about right, even as his lyrics have become gradually more frank and introspective, he just has this ear for bright warm weather beats. DJ Dahi did a lot of the production on here, some of my favorite work from him since the early Vince Staples stuff. On 13 Months of Sunshine's great autobiographical opening track "Feels So Good," Aminé talks about interning at Complex, and I didn't even realize that he was there around the same time I started writing for Complex back in the day. Waxahatchee guests on both the Ben Kweller and Aminé albums, it was kind of fun to notice that as I was putting this post together. 

3. Isaiah Falls - LVRS PARADISE (Side A)
I heard the single from this album, "Butterflies" featuring Joyce Wrice, on the radio recently and my ears perked up immediately, because I'm already a fan of Wrice but had never heard of Isaiah Falls, he's definitely quickly becoming one of my favorite newer R&B acts. He excels at slow jams but the uptempo stuff like "A Florida Luv Story" is great too. 

4. PinkPantheress - Fancy That
I was a little less enthusiastic about Heaven Knows than To Hell With It, so I started to think that maybe PinkPantheress was one of those artists that just had this very narrow lane and once you get used to what they do, they get less interesting with each release. But Fancy That might be my favorite project from her to date, she's subtly expanding the variety of sounds and styles in her tracks without losing her main signatures (the brevity, that voice that sounds like nobody else). My favorite tracks are probably the three at the end, all in a row, great run. 

5. Sparks - MAD!
I had a lot of fun ranking the Sparks catalog a few weeks ago and really finally taking in the size and variety of their output, almost 30 albums over the last 54 years. I found that I have something of a preference towards their more band-oriented music and their more deadpan humor, and a lot of MAD! is just the Mael brothers with Russell delivering the lyrics with an audible smirk. So I didn't take to it as immediately as some of their other albums, but I really like "Hit Me, Baby" and "A Little Bit of Light Banter." 

6. Little Feat - Strike Up the Band
Little Feat's classic lineup was, if you ask me, the second greatest band of the 1970s, and it was a great honor to interview Bill Payne and Kenny Gradney last year. I may have even been the first person to publish the news that Little Feat had just recorded an album of new material, their first since 2012. Last year was also the first time I'd seen Little Feat since the death of Paul Barrere, and I was really impressed with the new guitarist and singer Scott Sharrard, a Michigan native born in the '70s who'd previously played in later lineups of the Allman Brothers Band and on Gregg Allman's solo work. In fact, I'm just realizing now that he played on the great cover of Little Feat's "Willin'" on Allman's final album, so this is really just a great match. Sharrard's voice and especially guitar solos fit right in with the classic Little Feat sound and there are some excellent songs, including "Bluegrass Pines," which Payne wrote with Grateful Dead lyricist Robert Hunter. 

7. I'm With Her - Wild And Clear And Blue
Aoife O'Donovan made one of my favorite albums of 2022 and Sarah Jarosz made one of my favorite albums of 2024, but I wasn't really that familiar with their careers before that and didn't realize they were also in a group together with Sara Watkins of Nickel Creek that released an album in 2018. I'm With Her feels like kind of a 2010s cliche kind of name at this point that just reminds me of the Hillary Clinton campaign, but whatever, I love hearing these three voices together, they're a soft rock supergroup much more up my alley than Boygenius. 

8. Maddie & Tae - Love & Light
Maddie & Tae's first two albums each had a #1 country radio hit, one of them being 2014's "Girl In A Country Song," which skewered the overwhelmingly male perspective of mainstream country at the time. A decade later, there are even fewer women on country radio, and Maddie & Tae's latest album and all its singles have failed to chart. And that's really frustrating, because Maddie Font and Taylor Kerr have become really consistent, clever songwriters and there are so many songs that could be hits on here, particularly "Drunk Girls In Bathrooms." 

9. Maren Morris - Dreamsicle
Maren Morris has had some crossover success with "The Middle" with Zedd and the version of "Bones" with Hozier, but she didn't so much go pop with her fourth major label album as she pointedly left the country music industry. She took a stand for left wing causes like trans rights, called out problematic country superstars like Jason Aldean and Morgan Wallen, divorced her D-list country singer husband, and came out as bisexual. And here's another case of an artist I really like making a record that completely missed the Billboard 200, even though Dreamsicle is packed with excellent songs made with Top 40 hitmaker types like Jack Antonoff, Greg Kurstin, Joel Little, and Julia Michaels. "Push Me Over" should've been a single, that's the one that really stood out to me, both here and on last year's Intermission EP. I really like the piano ballad "Carry Me Through" too, I could go for a whole record that sounds like that. 

10. Eric Church - Evangeline vs. The Machine
Eric Church's latest album did chart, but it peaked lower on the Billboard 200 than any of his other studio albums, even the first two from before he really became a hitmaker. That's not totally surprising given that this is one of the riskier albums from one of contemporary mainstream country's biggest risk takers, but I guess it really shows that his guest appearances on the last two Morgan Wallen albums didn't provide any kind of boost to his career. Evangeline vs. The Machine is full of string and brass arrangements that are a big departure from the sound of every previous Church album, and it ends with a cover of "Clap Hands" by Tom Waits. And I like all of that more in theory than in practice, sometimes the orchestrations really overwhelm the songs, and I don't think his version of one of my favorite Waits songs is particularly good. Still, last year's charity single "Darkest Hour" is a great song and I also really like "Rocket's White Lincoln," it's an interesting new chapter to a great catalog. 

The Worst Album of the Month: Blondshell - If You Asked For A Picture
There's a lot of inoffensive, well-meaning indie rock that I could snark about but choose not to, they usually seem like nice people with good politics and cool influences and the respect of many of my music critic peers. Now and then a record will get on my nerves, though. A radio station I listen to, WTMD, has played two songs from Blondshell's second album a lot in the last few months, "What's Fair" and "23's A Baby." I really just do not like her bored-sounding voice, and checking out the entire album didn't improve my opinion much. The latter song just irritates me so much, it sounds like a 28-year-old woman acting completely perplexed or annoyed that another woman became a mother at 23, that whole thing these days of adults infantilizing other adults or acting like someone is practically a teen mom if they have kids in their twenties.