1 00:00:00,000 --> 00:00:02,580 (upbeat music) 2 00:00:02,580 --> 00:00:15,080 - Hey everybody, welcome back to Phantom Power Music Review. 3 00:00:15,080 --> 00:00:17,180 It's Friday. 4 00:00:17,180 --> 00:00:21,240 We're gonna start to try and put these out every Friday. 5 00:00:21,240 --> 00:00:23,280 Try to get regular with it. 6 00:00:23,280 --> 00:00:27,120 Wednesdays will be the music hour. 7 00:00:27,120 --> 00:00:31,400 Fridays, the review, artist hour on Sunday 8 00:00:31,400 --> 00:00:32,800 and then the business hour on Monday. 9 00:00:32,800 --> 00:00:34,320 We're gonna try to stick to that schedule, 10 00:00:34,320 --> 00:00:35,720 we'll see how it goes. 11 00:00:35,720 --> 00:00:38,520 So this is a value for value podcast, of course, 12 00:00:38,520 --> 00:00:40,440 where you are listening on a modern, 13 00:00:40,440 --> 00:00:42,920 podcasting 2.0 app, 14 00:00:42,920 --> 00:00:47,640 like fountain or karaoke or podcast guru or podcast, 15 00:00:47,640 --> 00:00:51,640 and your lightning wallet is tied into that app. 16 00:00:51,640 --> 00:00:55,000 And as you listen, you can send the artist little bits 17 00:00:55,000 --> 00:00:58,240 of Bitcoin, otherwise known as Satoshi's, right? 18 00:00:58,240 --> 00:01:01,960 Thank you to Adam Curry, of course, 19 00:01:01,960 --> 00:01:03,280 for spearheading this whole thing 20 00:01:03,280 --> 00:01:05,720 and really making everybody believe in it 21 00:01:05,720 --> 00:01:07,760 and getting it off the ground. 22 00:01:07,760 --> 00:01:11,520 It's definitely changed the mindset and the thought process 23 00:01:11,520 --> 00:01:14,840 of boatload of musicians around the world 24 00:01:14,840 --> 00:01:18,440 and it's just gonna keep getting bigger and better. 25 00:01:18,440 --> 00:01:23,440 So what we do in the Phantom Power Music Review is, 26 00:01:24,280 --> 00:01:27,160 we listen to a couple of songs and I give you my breakdown 27 00:01:27,160 --> 00:01:31,040 of them, what I like about them, why they speak to me. 28 00:01:31,040 --> 00:01:34,160 We talk about tones and theory and chord structure 29 00:01:34,160 --> 00:01:37,560 and all that kind of fun music and geek stuff. 30 00:01:37,560 --> 00:01:40,760 So let's do it, shall we? 31 00:01:40,760 --> 00:01:42,560 This first track we're gonna listen to 32 00:01:42,560 --> 00:01:45,640 is by Abby Muir out of Australia and the song is called 33 00:01:45,640 --> 00:01:48,800 "Stuck Home" so take it away, Abby. 34 00:01:48,800 --> 00:01:52,040 ♪ My dear you could go me in the sun ♪ 35 00:01:52,040 --> 00:01:55,920 ♪ Tell me the road was in the gold to detail ♪ 36 00:01:55,920 --> 00:01:59,960 ♪ Just hide it and then for me I was so staked ♪ 37 00:01:59,960 --> 00:02:01,760 ♪ No roads are on my hands ♪ 38 00:02:01,760 --> 00:02:06,000 ♪ Just tell me you love me and I'm changed to your command ♪ 39 00:02:06,000 --> 00:02:09,360 ♪ I love the way you're meaning for us ♪ 40 00:02:09,360 --> 00:02:11,760 ♪ You're hitting your touch ♪ 41 00:02:11,760 --> 00:02:15,680 ♪ The way you understood my name is high sick ♪ 42 00:02:15,680 --> 00:02:18,800 ♪ But I'm using it the end this way ♪ 43 00:02:18,800 --> 00:02:23,800 ♪ So I'll find the beauty and call it you, baby ♪ 44 00:02:23,800 --> 00:02:27,920 ♪ No sound on my mouth, you ♪ 45 00:02:27,920 --> 00:02:31,920 ♪ I say I'm scared it's the truth that I know that ♪ 46 00:02:31,920 --> 00:02:33,920 ♪ This is all I've heard ♪ 47 00:02:33,920 --> 00:02:38,920 ♪ I gotta be ready to eat, I gotta be ready to eat ♪ 48 00:02:38,920 --> 00:02:44,600 ♪ Oh, oh, oh ♪ 49 00:02:44,600 --> 00:02:47,760 ♪ For the reason is like you called it in your faint ♪ 50 00:02:47,760 --> 00:02:50,120 ♪ Just real living things our people ♪ 51 00:02:50,120 --> 00:02:53,880 ♪ So you wouldn't say and I'm over my head ♪ 52 00:02:53,880 --> 00:02:55,840 ♪ And blood that I've fled ♪ 53 00:02:55,840 --> 00:02:57,680 ♪ In time that I've spent ♪ 54 00:02:57,680 --> 00:02:59,320 ♪ But I do it again ♪ 55 00:02:59,320 --> 00:03:01,600 ♪ You could leave for me dead ♪ 56 00:03:01,600 --> 00:03:05,360 ♪ And I still love the way you're meaning for us ♪ 57 00:03:05,360 --> 00:03:08,080 ♪ You're hitting your touch ♪ 58 00:03:08,080 --> 00:03:11,680 ♪ The way you understood my name is high sick ♪ 59 00:03:11,680 --> 00:03:14,800 ♪ But I'm using it the end this way ♪ 60 00:03:14,800 --> 00:03:17,000 ♪ So I'll find the beauty and call it you, baby ♪ 61 00:03:17,000 --> 00:03:22,000 ♪ For the reason is like you called it in your faint ♪ 62 00:03:22,000 --> 00:03:24,000 ♪ Just real living things our people ♪ 63 00:03:24,000 --> 00:03:28,000 ♪ So you wouldn't say and I'm over my head ♪ 64 00:03:28,000 --> 00:03:30,000 ♪ And blood that I've fled ♪ 65 00:03:30,000 --> 00:03:34,000 ♪ I gotta be ready to eat, I gotta be ready to eat ♪ 66 00:03:34,000 --> 00:03:36,000 ♪ Oh, oh, oh ♪ 67 00:03:36,000 --> 00:03:41,000 ♪ I take all the pain away from you ♪ 68 00:03:41,000 --> 00:03:46,000 ♪ You know I take all the pain away ♪ 69 00:03:46,000 --> 00:03:55,000 ♪ I leave for me dead ♪ 70 00:03:55,000 --> 00:03:59,000 ♪ I leave for me dead ♪ 71 00:03:59,000 --> 00:04:04,000 ♪ And I still love the way you're meaning for us ♪ 72 00:04:04,000 --> 00:04:09,000 ♪ And I still love the way you're meaning for us ♪ 73 00:04:09,000 --> 00:04:12,000 ♪ You're hitting your touch ♪ 74 00:04:12,000 --> 00:04:15,000 ♪ The way you understood my name is high sick ♪ 75 00:04:15,000 --> 00:04:18,000 ♪ But I'm using it the end this way ♪ 76 00:04:18,000 --> 00:04:21,000 ♪ So I'll find the beauty and call it you, baby ♪ 77 00:04:21,000 --> 00:04:24,000 ♪ For the reason is like you called it in your faint ♪ 78 00:04:24,000 --> 00:04:28,000 ♪ Just real living things our people ♪ 79 00:04:28,000 --> 00:04:32,000 ♪ So you wouldn't say and I'm over my head ♪ 80 00:04:32,000 --> 00:04:34,000 ♪ And blood that I've fled ♪ 81 00:04:34,000 --> 00:04:37,000 ♪ I gotta be ready to eat, I gotta be ready to eat ♪ 82 00:04:37,000 --> 00:04:40,000 ♪ But I'm loving ♪ 83 00:04:40,000 --> 00:04:43,000 ♪ Oh, oh, oh ♪ 84 00:04:43,000 --> 00:04:46,000 ♪ Oh, oh, oh ♪ 85 00:04:46,000 --> 00:04:49,000 ♪ Oh, oh, oh ♪ 86 00:04:49,000 --> 00:04:52,000 ♪ Oh, oh, oh ♪ 87 00:04:52,000 --> 00:04:55,000 ♪ Oh, oh, oh ♪ 88 00:04:55,000 --> 00:04:58,000 ♪ Oh, oh, oh ♪ 89 00:04:58,000 --> 00:05:01,000 ♪ Oh, oh, oh ♪ 90 00:05:01,000 --> 00:05:02,000 ♪ Oh, oh, oh ♪ 91 00:05:02,000 --> 00:05:06,000 So that is Stockholm by Abby Nure. 92 00:05:06,000 --> 00:05:09,000 And I hope you were listening to that with some good cans on, 93 00:05:09,000 --> 00:05:11,000 some good headphones, right? 94 00:05:11,000 --> 00:05:16,000 The split that happens in the guitars is great, the left and right. 95 00:05:16,000 --> 00:05:19,000 Listen to the split in her backgrounds 96 00:05:19,000 --> 00:05:23,000 and how they're buried in the back. 97 00:05:23,000 --> 00:05:26,000 Love how the bass tone changes between the verse and the chorus 98 00:05:26,000 --> 00:05:32,000 and not just with the distortion pedal, but with the feel as well. 99 00:05:32,000 --> 00:05:36,000 Great fill coming back into the second verse. 100 00:05:36,000 --> 00:05:39,000 The phrasing of her lyrics and the vocals is really cool too. 101 00:05:39,000 --> 00:05:42,000 Like when she hits that A chord, 102 00:05:42,000 --> 00:05:44,000 which is the third chord in the progression, 103 00:05:44,000 --> 00:05:47,000 she pulls off the tritone for the melody, 104 00:05:47,000 --> 00:05:50,000 which is a really hip thing to do. 105 00:05:50,000 --> 00:05:53,000 And I also love the fact how the second chord in there, 106 00:05:53,000 --> 00:05:56,000 which in theory should be a minor chord, 107 00:05:56,000 --> 00:05:59,000 but she plays the major version of it 108 00:05:59,000 --> 00:06:02,000 when she's, you know, with the melody of it. 109 00:06:02,000 --> 00:06:04,000 ♪ My dear you could ♪ 110 00:06:04,000 --> 00:06:08,000 ♪ Da da da da da da da da ♪ 111 00:06:08,000 --> 00:06:12,000 ♪ Love how she pulls the major chord for that second chord, 112 00:06:12,000 --> 00:06:16,000 which if you go by the laws, it should be a minor. 113 00:06:16,000 --> 00:06:20,000 So, that's really cool too. 114 00:06:20,000 --> 00:06:23,000 Let's see here, what else did I have on here? 115 00:06:23,000 --> 00:06:27,000 Oh, on the backgrounds, notice how she picks certain words to highlight, 116 00:06:27,000 --> 00:06:30,000 not just phrases, that's really smart. 117 00:06:30,000 --> 00:06:33,000 It gets pretty boring when you're just doing backgrounds 118 00:06:33,000 --> 00:06:34,000 and just repeating phrases. 119 00:06:34,000 --> 00:06:37,000 Like, find the right words, find things to highlight. 120 00:06:37,000 --> 00:06:39,000 And Abby does a really nice job of that here. 121 00:06:39,000 --> 00:06:41,000 Bridge is lovely as well, gives everybody a break, 122 00:06:41,000 --> 00:06:44,000 gives everybody's ears a break, 123 00:06:44,000 --> 00:06:48,000 love that dirty guitar tone coming out of it. 124 00:06:48,000 --> 00:06:52,000 And did you pick up on those really subtle keyboard tones 125 00:06:52,000 --> 00:06:55,000 in the bridge as well? 126 00:06:55,000 --> 00:06:58,000 Another, I just had a whole bunch of scribble notes here, sorry. 127 00:06:58,000 --> 00:07:01,000 I'm kind of like all over the shop here. 128 00:07:01,000 --> 00:07:04,000 But the other part about the harmonies that I loved 129 00:07:04,000 --> 00:07:08,000 was how she'll go up and away from the lead line rather than just, you know, 130 00:07:08,000 --> 00:07:10,000 keeping it tight with the melody. 131 00:07:10,000 --> 00:07:13,000 But again, like the, I mean, aside from Abby's tone and her diction, 132 00:07:13,000 --> 00:07:19,000 which are fantastic, I love the melody choice, especially using 133 00:07:19,000 --> 00:07:23,000 the major version of that second chord, the G#, 134 00:07:23,000 --> 00:07:29,000 and then on the melody, pulling off the tri-tone of the third chord, 135 00:07:29,000 --> 00:07:34,000 the A, which the tri-tone, of course, in this setting would be the D#. 136 00:07:34,000 --> 00:07:37,000 So, great stuff there. 137 00:07:37,000 --> 00:07:40,000 The other thing, if you listen to my previous podcast, 138 00:07:40,000 --> 00:07:45,000 you know how I am big on dichotomy. 139 00:07:45,000 --> 00:07:52,000 And I think that Abby's voice in conjunction with the heaviness of the guitars 140 00:07:52,000 --> 00:07:55,000 and the heaviness of the track is fantastic. 141 00:07:55,000 --> 00:07:59,000 It's kind of like, you know, like Amy Lee, Pat Benatar, 142 00:07:59,000 --> 00:08:02,000 Hayley Williams to a certain extent, right? 143 00:08:02,000 --> 00:08:07,000 The separation of the EQ is really good and really cool, 144 00:08:07,000 --> 00:08:11,000 but here's the thing, you as the singer, you better be damn good 145 00:08:11,000 --> 00:08:16,000 because the band is going to hang all of your EQs out to dry, right? 146 00:08:16,000 --> 00:08:20,000 If you're gonna put yourself in that setting, 147 00:08:20,000 --> 00:08:24,000 like your frequencies are gonna exist right up there with the symbols, 148 00:08:24,000 --> 00:08:30,000 the top strings on the guitar, the keyboard pipes, so if you as the lead singer 149 00:08:30,000 --> 00:08:35,000 are gonna put yourself in that position, you better have some killer pipes 150 00:08:35,000 --> 00:08:38,000 and Abby's got the pipes to back it up. 151 00:08:38,000 --> 00:08:43,000 So, great track all around. 152 00:08:43,000 --> 00:08:46,000 And we've got some more stuff from Abby that's gonna be coming out soon 153 00:08:46,000 --> 00:08:52,000 and I believe she's got a full project coming out here in 2024. 154 00:08:52,000 --> 00:08:56,000 So, always excited to hear what she's got coming out. 155 00:08:56,000 --> 00:09:00,000 So, all right, so there's my thoughts on Abby Mure. 156 00:09:00,000 --> 00:09:02,000 Next up, what do we have? 157 00:09:02,000 --> 00:09:05,000 Ah, yes! This one is interesting. 158 00:09:05,000 --> 00:09:10,000 Rock 'n' Roll break heart and a song, "Look what you put me through." 159 00:09:10,000 --> 00:09:13,000 So, let's check it out and then we'll come back and talk about it. 160 00:09:13,000 --> 00:09:15,000 Here we go. 161 00:09:15,000 --> 00:09:31,000 [Music] 162 00:09:31,000 --> 00:09:35,000 Getting my head, we're back at my feet again. 163 00:09:35,000 --> 00:09:40,000 Got a style of the plan, and everything's all right. 164 00:09:40,000 --> 00:09:45,000 No place in yourself, just try to count to 10 165 00:09:45,000 --> 00:09:50,000 for those words away, no need to find. 166 00:09:50,000 --> 00:09:55,000 Any game in the school, no ride to burn, no need to use. 167 00:09:55,000 --> 00:10:00,000 Any game in the school, no ride to burn, no need to use. 168 00:10:00,000 --> 00:10:04,000 No ride to burn, no need to use. 169 00:10:04,000 --> 00:10:07,000 Something will happen. 170 00:10:07,000 --> 00:10:09,000 No ride to burn, no need to use. 171 00:10:09,000 --> 00:10:14,000 Now that my self, getting better every day, 172 00:10:14,000 --> 00:10:21,000 business of myself, and it's all right, you're walking away. 173 00:10:21,000 --> 00:10:25,000 Not sure what your plan, you can better still look 174 00:10:25,000 --> 00:10:28,000 to win every other fight. 175 00:10:28,000 --> 00:10:33,000 Any game in the school, no ride to burn, no need to use. 176 00:10:33,000 --> 00:10:38,000 Any game in the school, no ride to burn, no need to use. 177 00:10:38,000 --> 00:10:42,000 No ride to burn, no need to use. 178 00:10:42,000 --> 00:10:45,000 Something will happen. 179 00:10:45,000 --> 00:10:48,000 No ride to burn, no need to use. 180 00:10:48,000 --> 00:11:17,000 (upbeat music) 181 00:11:17,000 --> 00:11:27,000 Any game in the school, no ride to burn, no need to use. 182 00:11:27,000 --> 00:11:45,000 (upbeat music) 183 00:11:45,000 --> 00:11:55,000 Any game in the school, no ride to burn, no need to use. 184 00:11:55,000 --> 00:12:00,000 No ride to burn, no need to use. 185 00:12:00,000 --> 00:12:03,000 Something will happen. 186 00:12:03,000 --> 00:12:10,000 Any game in the school, no ride to burn, no need to use. 187 00:12:10,000 --> 00:12:17,000 No ride to burn, no need to use. 188 00:12:17,000 --> 00:12:20,000 No ride to burn, no need to use. 189 00:12:20,000 --> 00:12:25,000 No ride to burn, no need to use. 190 00:12:25,000 --> 00:12:34,000 (upbeat music) 191 00:12:34,000 --> 00:12:38,000 Well, you're probably wondering why I chose that track 192 00:12:38,000 --> 00:12:42,000 because nine times out of ten, 193 00:12:42,000 --> 00:12:48,000 I will choose things that are just really well produced, 194 00:12:48,000 --> 00:12:53,000 amazing vocals, very commercial, I guess you could say. 195 00:12:53,000 --> 00:12:59,000 I don't do a lot of stuff that's rough around the edges. 196 00:12:59,000 --> 00:13:03,000 And I admit, we all have our biases, 197 00:13:03,000 --> 00:13:07,000 and I can be a bit of a jerk when it comes to my opinion on music. 198 00:13:07,000 --> 00:13:10,000 But here's what I loved about this. 199 00:13:10,000 --> 00:13:17,000 And to me, there is a whole hell of a lot to love about what this dude is doing. 200 00:13:17,000 --> 00:13:21,000 A lot of times when I'm listening to a song, 201 00:13:21,000 --> 00:13:24,000 if I can, and I've said this before, 202 00:13:24,000 --> 00:13:27,000 if I can tell where the song is gonna go, 203 00:13:27,000 --> 00:13:31,000 like I'll start guessing on chord progressions, on melodies. 204 00:13:31,000 --> 00:13:34,000 And if I start guessing correctly, 205 00:13:34,000 --> 00:13:39,000 I'm gonna turn it off because I'm like, this is boring, right? 206 00:13:39,000 --> 00:13:42,000 Here's another thing. 207 00:13:42,000 --> 00:13:44,000 I'll hear something where it's like, 208 00:13:44,000 --> 00:13:47,000 "Oh, the slide sounds great coming in." 209 00:13:47,000 --> 00:13:49,000 And then the EQ on the drums is off, 210 00:13:49,000 --> 00:13:51,000 or the guitar is attuned, and I'm like, 211 00:13:51,000 --> 00:13:53,000 "Oh, God, this isn't going to be awful." 212 00:13:53,000 --> 00:13:55,000 And I'm just going to tune it off. 213 00:13:55,000 --> 00:13:58,000 I apologize, I'm a little bit of an arrogant prick. 214 00:13:58,000 --> 00:14:01,000 I guess you want to say when it comes to music. 215 00:14:01,000 --> 00:14:03,000 But if I hear things that are off, 216 00:14:03,000 --> 00:14:05,000 I'm gonna turn it off. 217 00:14:05,000 --> 00:14:09,000 But when I hear something like this, 218 00:14:09,000 --> 00:14:15,000 where the entire mix is raw and authentic, 219 00:14:15,000 --> 00:14:19,000 where the entire song is beautifully unbalanced, 220 00:14:19,000 --> 00:14:23,000 I am absolutely hooked. 221 00:14:23,000 --> 00:14:26,000 I'm absolutely hooked. 222 00:14:26,000 --> 00:14:29,000 Is this guy a great singer? 223 00:14:29,000 --> 00:14:32,000 Not really, but does he get the point across? 224 00:14:32,000 --> 00:14:34,000 Yeah. 225 00:14:34,000 --> 00:14:36,000 You guys ever heard of Tom Wates? 226 00:14:36,000 --> 00:14:38,000 You ever heard of Leonard Cohen? 227 00:14:38,000 --> 00:14:42,000 I love this guy's voice because it's perfect for the lyrics, 228 00:14:42,000 --> 00:14:44,000 and it's perfect for the production. 229 00:14:44,000 --> 00:14:47,000 I love the drums, I love the guitar, I love the bit, 230 00:14:47,000 --> 00:14:49,000 I love everything about this, 231 00:14:49,000 --> 00:14:51,000 because it's perfect for the production, 232 00:14:51,000 --> 00:14:53,000 because it's perfect for the vibe. 233 00:14:53,000 --> 00:14:55,000 It's kind of like Joe Walsh, 234 00:14:55,000 --> 00:14:57,000 it's kind of like James Gaye. 235 00:14:57,000 --> 00:14:59,000 It's a lot like Tom Wates. 236 00:14:59,000 --> 00:15:02,000 And I mean all of this as a compliment. 237 00:15:02,000 --> 00:15:05,000 I could not pull off something like this. 238 00:15:05,000 --> 00:15:09,000 It is rough and raw and beautiful. 239 00:15:09,000 --> 00:15:13,000 And I don't have that feel in me. 240 00:15:13,000 --> 00:15:15,000 I wish I did. 241 00:15:15,000 --> 00:15:17,000 I wish I did. 242 00:15:17,000 --> 00:15:19,000 I'm not gonna break down the chords. 243 00:15:19,000 --> 00:15:21,000 I'm not gonna break down the melody. 244 00:15:21,000 --> 00:15:23,000 I love this song for the feel. 245 00:15:23,000 --> 00:15:25,000 I love this production for the feel. 246 00:15:25,000 --> 00:15:28,000 I love the presentation for the feel. 247 00:15:28,000 --> 00:15:32,000 Another one that you should go listen to is Rock and Roll Demon. 248 00:15:32,000 --> 00:15:35,000 Also by this guy, Rock and Roll, Break Heart. 249 00:15:35,000 --> 00:15:37,000 You gotta check out this guy's stuff. 250 00:15:37,000 --> 00:15:39,000 It is beautifully imperfect. 251 00:15:39,000 --> 00:15:41,000 It's like throw it up in the, you know, 252 00:15:41,000 --> 00:15:43,000 throw a mic up in the room and do one take. 253 00:15:43,000 --> 00:15:46,000 And it's, and everything comes out great. 254 00:15:46,000 --> 00:15:47,000 Just raw energy. 255 00:15:47,000 --> 00:15:50,000 It's like Tom Wates, it's like the clash. 256 00:15:50,000 --> 00:15:52,000 That's what speaks to me on this. 257 00:15:52,000 --> 00:15:56,000 This track, everything that I've heard of his up on Wave Lake 258 00:15:56,000 --> 00:15:59,000 is just dripping with vibe. 259 00:15:59,000 --> 00:16:02,000 It is perfectly imperfect. 260 00:16:02,000 --> 00:16:04,000 And that's what I dig about it. 261 00:16:04,000 --> 00:16:06,000 And I hope you guys liked it too. 262 00:16:06,000 --> 00:16:07,000 Cool? 263 00:16:07,000 --> 00:16:08,000 Alright, next one. 264 00:16:08,000 --> 00:16:11,000 Let's move on to 265 00:16:11,000 --> 00:16:13,000 Leaving Chicago 266 00:16:13,000 --> 00:16:16,000 by Red Arrow Highway. 267 00:16:16,000 --> 00:16:17,000 Check it out. 268 00:16:17,000 --> 00:16:20,000 ♪ She's on a night's range of leaving Chicago 269 00:16:20,000 --> 00:16:23,000 ♪ I got about me for she got through Ohio 270 00:16:23,000 --> 00:16:27,000 ♪ She still scared her airport to be there tomorrow 271 00:16:27,000 --> 00:16:31,000 ♪ I said wherever you go I'll follow 272 00:16:31,000 --> 00:16:34,000 ♪ I think that that gesture might be all wrong 273 00:16:34,000 --> 00:16:38,000 ♪ 'Cause deep down I know they're not gonna go 274 00:16:38,000 --> 00:16:41,000 ♪ I'll have to see how I feel tomorrow 275 00:16:41,000 --> 00:16:45,000 ♪ But you're on a night's range of leaving Chicago 276 00:16:45,000 --> 00:16:48,000 ♪ 'Cause I like you more than her 277 00:16:48,000 --> 00:16:52,000 ♪ Feeling we are changing to work 278 00:16:52,000 --> 00:16:55,360 She's on a night's train and leaving Chicago, 279 00:16:55,360 --> 00:16:58,840 She's on a night's train and leaving Chicago, 280 00:16:58,840 --> 00:17:02,720 She's on a night's train, leaving Chicago, 281 00:17:19,580 --> 00:17:24,280 The rain sounds on these shingles like the waves of sunshine 282 00:17:24,280 --> 00:17:28,440 See these windows I like to view from what I've got 283 00:17:28,440 --> 00:17:32,000 A freezing time here, I'm breaking the clock 284 00:17:32,000 --> 00:17:35,440 It's when this dress is air-filling up with vacuum 285 00:17:35,440 --> 00:17:38,840 But I will not move, no obvious that you 286 00:17:38,840 --> 00:17:42,380 You can change the house, but you stop with the view 287 00:17:42,380 --> 00:17:45,880 And I like this one, go find something new 288 00:17:45,880 --> 00:17:49,360 'Cause I like here more than the earth 289 00:17:49,360 --> 00:17:52,840 Feeling we are changing to work 290 00:17:52,840 --> 00:17:56,300 I'm rooting for her, watching her for 291 00:17:56,300 --> 00:17:59,780 I think it's a sign that this person hurt 292 00:17:59,780 --> 00:18:03,180 'Cause I like here more than the earth 293 00:18:03,180 --> 00:18:06,780 Feeling we are changing to work 294 00:18:06,780 --> 00:18:10,280 I'm rooting for her, watching her for 295 00:18:10,280 --> 00:18:14,020 I think it's a sign that this person hurt 296 00:18:14,020 --> 00:18:17,080 She's on a night's train and leaving Chicago, 297 00:18:17,080 --> 00:18:20,660 She's on a night's train and leaving Chicago, 298 00:18:20,660 --> 00:18:24,860 She's on a night's train, leaving Chicago, 299 00:18:24,860 --> 00:18:31,160 She's on a night's train and leaving Chicago, 300 00:18:31,160 --> 00:18:34,620 She's on a night's train and leaving Chicago, 301 00:18:34,620 --> 00:18:37,740 She's on a night's train and leaving Chicago, 302 00:18:37,740 --> 00:18:40,320 (rock music) 303 00:18:40,320 --> 00:18:58,380 Okay, so you know how I said before 304 00:18:58,380 --> 00:19:00,060 that if I can guess where it's gonna go, 305 00:19:00,060 --> 00:19:02,380 I'm gonna turn it off, right? 306 00:19:02,380 --> 00:19:07,180 These guys had me guessing from the very first drop 307 00:19:07,180 --> 00:19:09,500 I love the all start in the band 308 00:19:09,500 --> 00:19:11,420 but actually the very first thing I noticed 309 00:19:11,420 --> 00:19:14,780 is that beautiful anticipation on the kick pattern 310 00:19:14,780 --> 00:19:18,500 She's on a boom, right? 311 00:19:18,500 --> 00:19:22,460 Just, ah, it's great, just a nice push coming in. 312 00:19:22,460 --> 00:19:26,100 The energy, and this is Nate John I'm in singing. 313 00:19:26,100 --> 00:19:29,060 Nate, I hope I got your last name right, by the way. 314 00:19:29,060 --> 00:19:31,020 Love the energy and the vocal production. 315 00:19:31,020 --> 00:19:33,500 It's perfect match for the energy of the lyrics. 316 00:19:35,180 --> 00:19:38,540 The rhymes in this are fantastic. 317 00:19:38,540 --> 00:19:40,700 The lyrics are great. 318 00:19:40,700 --> 00:19:43,420 Core changes, it's, you know, I mean, 319 00:19:43,420 --> 00:19:47,500 you wanna break it down, all right, it's GE Minor C, right? 320 00:19:47,500 --> 00:19:50,940 Pretty much throughout the whole track, works. 321 00:19:50,940 --> 00:19:52,720 Brilliant, you don't have to be complicated 322 00:19:52,720 --> 00:19:54,660 to write a kick ass tune. 323 00:19:54,660 --> 00:19:55,980 Absolutely love that. 324 00:19:55,980 --> 00:19:58,460 Love the drop out in the pre-chorus. 325 00:19:58,460 --> 00:20:02,340 The first pre-chorus. 326 00:20:02,340 --> 00:20:04,820 And then how the whole band comes just, 327 00:20:04,820 --> 00:20:07,660 you know, blazing back in when the chorus drops. 328 00:20:07,660 --> 00:20:11,660 Thematically, I love how they gave it all away 329 00:20:11,660 --> 00:20:13,220 with the very first line of the song, 330 00:20:13,220 --> 00:20:15,380 but then they keep using it, right? 331 00:20:15,380 --> 00:20:17,940 And then they double chorus at the end, like, 332 00:20:17,940 --> 00:20:19,780 you would think that big build up 333 00:20:19,780 --> 00:20:21,900 after the second verse when the bass drops out, 334 00:20:21,900 --> 00:20:23,020 like that's gonna be a chorus, 335 00:20:23,020 --> 00:20:24,700 but that's like an extended second verse. 336 00:20:24,700 --> 00:20:26,980 Like the arrangement is so cool, 337 00:20:26,980 --> 00:20:29,820 and they do a solo after the first chorus 338 00:20:29,820 --> 00:20:31,020 before the second verse. 339 00:20:32,540 --> 00:20:35,460 Great, you know, and I was fascinated that this song 340 00:20:35,460 --> 00:20:38,780 is only two minutes and 30 seconds longer, felt longer. 341 00:20:38,780 --> 00:20:43,860 Love just love the arrangement, love the production, 342 00:20:43,860 --> 00:20:44,780 love the energy. 343 00:20:44,780 --> 00:20:47,900 Would love to see this live. 344 00:20:47,900 --> 00:20:50,300 I like, you could just imagine like this band, 345 00:20:50,300 --> 00:20:52,860 blazing through their set, 346 00:20:52,860 --> 00:20:54,740 and everybody's waiting for this one, 347 00:20:54,740 --> 00:20:57,380 and then he hits, she's on a night drain living 348 00:20:57,380 --> 00:20:59,820 the place just blows up, right? 349 00:20:59,820 --> 00:21:01,980 Just absolutely dig that track. 350 00:21:01,980 --> 00:21:03,460 Absolutely dig that track. 351 00:21:03,460 --> 00:21:05,460 Look, and look up Nate's stuff. 352 00:21:05,460 --> 00:21:08,020 He's all over Wavley. 353 00:21:08,020 --> 00:21:09,340 He's got a boatload of stuff up there. 354 00:21:09,340 --> 00:21:10,420 Hell of a writer, man. 355 00:21:10,420 --> 00:21:12,780 Great, I always love writers who, you know, 356 00:21:12,780 --> 00:21:14,380 jump around genres a lot. 357 00:21:14,380 --> 00:21:18,220 Speaking of genre jumping. 358 00:21:18,220 --> 00:21:21,860 How about this? 359 00:21:21,860 --> 00:21:25,380 This is "Hey Love" by Marina Osk, at the Bicellent. 360 00:21:29,700 --> 00:21:33,180 Hey, love, you caught me of God. 361 00:21:33,180 --> 00:21:37,620 Hey, love, I took it right home. 362 00:21:37,620 --> 00:21:40,660 Oh, love, you got me good. 363 00:21:40,660 --> 00:21:44,100 Well, the streams aside, I never thought I'd ever met it, 364 00:21:44,100 --> 00:21:48,540 but hey, love, I'm doing all right since love. 365 00:21:48,540 --> 00:21:52,980 My head is all fried, but love, 366 00:21:52,980 --> 00:21:55,340 I like the fact you stumbled my way. 367 00:21:57,940 --> 00:22:04,540 I used to visit game places and all the time what made places seem so charming and swell. 368 00:22:04,540 --> 00:22:12,020 But since that fateful day, I've been trying to stay away. 369 00:22:12,020 --> 00:22:15,660 Hey, love, I'm not used to this thing, 370 00:22:15,660 --> 00:22:21,260 oh, love, it sure ain't no fling, but love, 371 00:22:21,260 --> 00:22:24,420 I like the fact you stumbled my way. 372 00:22:25,260 --> 00:22:28,260 (playing "Hey Love" by Marina Osk) 373 00:22:28,260 --> 00:22:32,100 (playing "Hey Love" by Marina Osk) 374 00:22:32,100 --> 00:22:35,940 (playing "Hey Love" by Marina Osk) 375 00:22:35,940 --> 00:22:39,780 (playing "Hey Love" by Marina Osk) 376 00:22:39,780 --> 00:22:43,620 (playing "Hey Love" by Marina Osk) 377 00:22:43,620 --> 00:22:47,460 (playing "Hey Love" by Marina Osk) 378 00:22:47,460 --> 00:22:51,300 (playing "Hey Love" by Marina Osk) 379 00:22:51,300 --> 00:22:55,140 (playing "Hey Love" by Marina Osk) 380 00:22:55,140 --> 00:22:58,980 (playing "Hey Love" by Marina Osk) 381 00:23:22,900 --> 00:23:26,740 (playing "Hey Love" by Marina Osk) 382 00:23:50,420 --> 00:23:54,260 (playing "Hey Love" by Marina Osk) 383 00:23:54,260 --> 00:23:58,260 (playing "Hey Love" by Marina Osk) 384 00:23:58,260 --> 00:24:02,260 (playing "Hey Love" by Marina Osk) 385 00:24:02,260 --> 00:24:06,260 (playing "Hey Love" by Marina Osk) 386 00:24:06,260 --> 00:24:10,260 (playing "Hey Love" by Marina Osk) 387 00:24:10,260 --> 00:24:14,260 (playing "Hey Love" by Marina Osk) 388 00:24:14,260 --> 00:24:17,260 (playing "Hey Love" by Marina Osk) 389 00:24:17,260 --> 00:24:21,100 (playing "Hey Love" by Marina Osk) 390 00:24:21,100 --> 00:24:25,100 (playing "Hey Love" by Marina Osk) 391 00:24:25,100 --> 00:24:28,300 (playing "Hey Love" by Marina Osk) 392 00:24:28,300 --> 00:24:30,300 (playing "Hey Love" by Marina Osk) 393 00:24:30,300 --> 00:24:34,300 (playing "Hey Love" by Marina Osk) 394 00:24:34,300 --> 00:24:36,300 (playing "Hey Love" by Marina Osk) 395 00:24:36,300 --> 00:24:38,300 Uh, wow. 396 00:24:38,300 --> 00:24:40,300 (playing "Hey Love" by Marina Osk) 397 00:24:40,300 --> 00:24:43,100 Like, just stunning. 398 00:24:43,100 --> 00:24:45,100 (playing "Hey Love" by Marina Osk) 399 00:24:45,100 --> 00:24:48,540 Let me just start by saying, "I believe on trumpet" 400 00:24:48,540 --> 00:24:52,540 is a gentleman in Stockholm by the name of Eric Tangholm. 401 00:24:52,540 --> 00:24:54,060 Tangholm? 402 00:24:54,060 --> 00:25:03,100 Uh, Michael Asponson on guitar and Johann Tangholm on bass. 403 00:25:03,100 --> 00:25:06,380 And Philadelphia, my Swedish is awful. 404 00:25:06,380 --> 00:25:09,740 It's worse than my German. 405 00:25:09,740 --> 00:25:13,980 I can talk for 20 minutes on this track. 406 00:25:13,980 --> 00:25:19,100 It belongs in the fake book. 407 00:25:19,100 --> 00:25:24,220 Like, page 178 right before hot totty. 408 00:25:24,220 --> 00:25:32,460 It's right up there, in my opinion, with any great standard. 409 00:25:32,460 --> 00:25:37,980 Marina, just so you know, has a bachelor's in jazz vocals. 410 00:25:37,980 --> 00:25:40,620 I believe from a conservatory in Holland. 411 00:25:40,620 --> 00:25:43,420 And then she has her masters in jazz music. 412 00:25:43,420 --> 00:25:45,820 From a Royal Conservatory in Stockholm. 413 00:25:45,820 --> 00:25:48,540 So she's not messing around, dude. 414 00:25:48,540 --> 00:25:56,700 Her tone and her diction are just phenomenal. 415 00:25:56,700 --> 00:26:00,540 I always love to hear people sing in a language 416 00:26:00,540 --> 00:26:02,700 that is not their mother tongue. 417 00:26:02,700 --> 00:26:04,940 And you would never know. 418 00:26:04,940 --> 00:26:08,940 I'm assuming English, and I've spoken with her. 419 00:26:10,460 --> 00:26:14,940 You would never know, just like if you've never had a conversation with her, 420 00:26:14,940 --> 00:26:18,620 you would never know that English is her third or fourth language, whatever it is. 421 00:26:18,620 --> 00:26:23,980 I'm assuming, you know, like most Europeans, she's got at least three under her hat. 422 00:26:23,980 --> 00:26:28,620 Swedish, Icelandic, English. 423 00:26:28,620 --> 00:26:29,420 And who knows what else? 424 00:26:31,980 --> 00:26:40,620 Did you notice on this track, how hard it's swung without a drummer? 425 00:26:40,620 --> 00:26:44,140 Do you know how hard that is to pull off? 426 00:26:44,140 --> 00:26:49,180 That band is so stunning. 427 00:26:49,180 --> 00:26:51,260 The arrangement is great. 428 00:26:51,260 --> 00:26:53,020 The writing is great, of course, as well. 429 00:26:53,020 --> 00:27:00,460 And from a true jazz format, it's AABA, right? 430 00:27:00,460 --> 00:27:03,180 First one, verse two, B section, back to a verse. 431 00:27:03,180 --> 00:27:07,260 Trumpet solo where he takes a full ride. 432 00:27:07,260 --> 00:27:13,100 And then, and then oh, by the way, let's just scatter because we're so darn good at it. 433 00:27:13,100 --> 00:27:16,780 Her scatting is fantastic. 434 00:27:16,780 --> 00:27:19,020 It's so subtle and it's so sweet. 435 00:27:19,020 --> 00:27:29,100 I honestly, I can't think of another jazz vocalist that she reminds me of, like, 436 00:27:30,380 --> 00:27:39,340 it would be a sin to compare her to Bjork, but every now and then Bjork does some cool little 437 00:27:39,340 --> 00:27:43,980 jazz stuff and I'm like, okay, am I just thinking that because they're both from Iceland, right? 438 00:27:43,980 --> 00:27:56,460 It would be a sin to compare her to another great Scandinavian female jazz singer, 439 00:27:56,460 --> 00:27:59,180 Monica's Eterlin, because Monica's register was lower. 440 00:27:59,180 --> 00:28:05,020 And Monica could never sing as sweet and as pristine as Marina is singing. 441 00:28:05,020 --> 00:28:10,140 In many respects, and I wrote about this on a blog, when I first came across her music, 442 00:28:10,140 --> 00:28:16,220 like a year and a half ago, she kind of reminds me of Sarah Burrellas, in a way, right? 443 00:28:16,220 --> 00:28:23,100 But I'm just adore her voice, I adore her writing. 444 00:28:23,100 --> 00:28:28,540 I would really encourage you guys to go online and find the rest of her stuff. 445 00:28:28,540 --> 00:28:36,540 She's going to be releasing more here in the value for value space, but the world needs more jazz 446 00:28:36,540 --> 00:28:44,060 musicians like Marina. It is my favorite genre to play because it scares the hell out of me, 447 00:28:44,060 --> 00:28:51,100 because it always forces me to be a better musician. And I just had a chuckle, I was sitting 448 00:28:51,100 --> 00:28:56,380 now kind of playing along with it. I'm like, of course, it's in D-flat, like, oh, they, like, can't, 449 00:28:56,380 --> 00:29:01,260 can we not choose an easier key for the piano player? Please let alone your bass player 450 00:29:01,260 --> 00:29:07,500 and your guitarist, although they probably all turned, turned down a half step. But really, 451 00:29:07,500 --> 00:29:12,620 Marina, did you have to do it in D-flat? You killed in the piano players. Maybe that's why you 452 00:29:12,620 --> 00:29:19,740 didn't have a piano player on the track. But I love the production. I love how hard the band swings 453 00:29:19,740 --> 00:29:27,580 when there's no drummer. The trumpet solo is gorgeous, you know, your rhythm section in this track. 454 00:29:27,580 --> 00:29:31,980 That's your guitar player, that's your bass player. And if you didn't like the intro in the ending, 455 00:29:31,980 --> 00:29:34,140 you need to check your pulse. There's something wrong with you. 456 00:29:34,140 --> 00:29:44,700 Gorgeous production, gorgeous melody. I love how sweet her voice is in conjunction with the theme 457 00:29:44,700 --> 00:29:51,180 of the lyrics. Like I said, I could go on for 20 minutes about this song. I adore her writing 458 00:29:51,180 --> 00:29:57,740 but she knows this. We've talked offline. So, all right guys, that'll do it. That is 459 00:29:57,740 --> 00:30:05,100 episode 11 of the Phantom Power Music Review. Like I said, we're going to try and do this every Friday. 460 00:30:05,100 --> 00:30:11,340 And we'll see how it goes, right? Life is what happens when you're busy making other plans. That's 461 00:30:11,340 --> 00:30:17,100 one of my favorite things. But thank you guys very much for listening. Thank you, Marcy Femall, 462 00:30:17,100 --> 00:30:27,420 to absolute, absolute, for the bumper music. Mujas Grasius to our amigo Dovey Doss at RSS Blue, 463 00:30:27,420 --> 00:30:34,540 out there in London for hosting these shows. And if you guys have any suggestions, you guys want 464 00:30:34,540 --> 00:30:42,460 me to review something, shoot me a note on Nostra or Twitter or Instagram, track me down. I'm on the 465 00:30:42,460 --> 00:30:47,660 north side of Nashville. I'm not that hard to find. All right guys, take care. Smile for the mug shot. 466 00:30:47,660 --> 00:30:51,260 Thanks for listening. 467 00:30:52,220 --> 00:31:00,300 [Music]