Welcome to NEXT. We are a new music show on the radio with a very simple goal – find you a NEXT, new favorite song.
May NEXT find a song that makes your ears smile. Enjoy it all.
“The true beauty of music is that it connects people. It carries a message, and we, the musicians, are the messengers.” – Roy Ayers
Let us begin NEXT week 785 with Lord Huron. Lord Huron first made a name for themselves with their debut album Lonesome Dreams and shortly after Strange Tales, which featured the triple-platinum single “The Night We Met.” A song that put Lord Huron on the big map and became an indie anthem for fans around the world. Lord Huron continues to influence listeners with their unique sound and meaningful lyrics. Lord Huron pull you into the soulful sound with each song. Well Lord Huron fans no more waiting in anticipation. Lord Huron has released new music. Long Lost, a concept album about a fictional band lost in time, the studio they record in, and the ghosts that live there. Schneider talks about taking cues from late night public access shows and old time variety shows, how the passage of time and blurring memories play such a big role in the lyrics, and the eternal chain reaction that we’re all part of. The Michigan-born songwriter goes on to discuss the responsibility the band feels to listen to their fan’s deepest questions, his desire to create graphic novels and movies to go along with the music, and being musically inspired by Lee Hazlewood.
TORRES (aka MacKenzie Scott) announced a new album, Thirstier, and shared its first single, “Don’t Go Puttin Wishes in My Head.” Torres has also announced some North American and European tour dates. Thirstier is the follow-up to 2020’s Silver Tongue, which was her first album for Merge following a one-album stint on 4AD with Three Futures. Thirstier was recorded in the fall of 2020 at Middle Farm Studios in the UK and Scott co-produced the album with Rob Ellis and Peter Miles (she self-produced Silver Tongue). This new album “marks a turn towards a bigger, more bombastic sound for TORRES. The anxious hush that fell over much of Scott’s previous music gets turned inside-out in songs tailored for post-plague celebration.” Scott aka Torres says: “I love the idea that intensity can actually be something life-saving or something joyous.” Torres is in a good place in her life right now and that the album stems from that. “I’ve been conjuring this deep, deep joy that I honestly didn’t feel for most of my life. I feel like a rock within myself. And I’ve started to feel that I have what it takes to help other people conjure their joy, too.” Scott calls “Don’t Go Puttin Wishes in My Head” her “relentless arena country star moment—my shameless Tim McGraw cheeseball hit.”
“Hush” is a sultry, stunning thrill. The lead single off The Marías’ long-anticipated debut album Cinema finds the Los Angeles-based alternative band back in action with invigorating flare and inspired confidence. The Marias are strutting the best of their “psychedelic-soul” sound with an unapologetic song dripping with hot sweat and swagger. A truly cinematic listen, The Marías’ “Hush” engulfs the senses in a dynamic, immersive full body experience. My head nods along. My toes tap. The start of their debut album chapter kicks off with a sultry display of independence, temptation, attraction, and desire. Refreshingly dark and utterly seductive, “Hush” captures intimacy’s raw allure in an irresistible, intoxicating soundtrack to connection and vulnerability, empowerment and inner strength. Smooth. “The Marías were born from cinema,” María Zardoya says. “The reason Josh and I started writing music together was because of cinema. Through a friend, we were connected to a music supervisor who would send us requests for music for films. We’d receive a synopsis of a scene, and then we’d have to write music to it within a couple of days. Not only did that teach us how to write songs together fairly quickly, it taught us how to think like filmmakers. We’d imagine worlds in our minds based on the synopses – the colors in the scene, the lighting, the actors, the set design, and of course, the music.”
Frank Turner has released a brand new single called “The Gathering,” which features a guitar solo from Jason Isbell and drums from Muse’s Dom Howard. Turner said of the song, “It’s about that moment when you come together in a room full of people, and you lean on a stranger and sing along with the chorus and get the words wrong.” Isbell recorded his solo remotely from Nashville and Howard from Los Angeles due to the lockdown. Frank Turner: “The biggest thing for me about the lockdown experience was about identity. I am the guy who tours, this is who I’ve been since I was sixteen. This is the longest period of time I’ve slept in the same bed continuously since I was seven.” Hear Frank Turner loudly celebrate the return of live gigs with The Gathering. The Gathering, which anticipates the return of live music post-lockdown, Turner says, “It’s a song about what we’ve been missing, that sense of coming together, and how ready I am to get back to it.
The Beaches have revealed their next move. The Toronto band will release their new EP Future Lovers. The Future Lovers EP was produced by the famed Jacknife Lee and written by all four band members with Jacknife and longtime collaborator Coco Morier. It follows the Beaches’ 2019 EP The Professional. The Beaches’ Jordan Miller stated: “We recorded most of Future Lovers in Los Angeles with Jacknife during The Professional sessions. But the pandemic gave us the opportunity to look at some of these songs and give them some new Beaches twists before they were released… You know, we’ve kind of all matured a little being stuck at home for over a year.” The Beaches are back with their defiant pop-rock sound on the Future Lovers EP. Two years after the release of their last EP, The Professional, Future Lovers is a worthwhile sequel. “Bad Behaviour” starts with a riff that nods to the Clash’s “Should I Stay or Should I Go” before launching into a singalong-worthy anthem that’s entirely the Beaches’ signature sound, down to the call and response vocals between lead vocalist Jordan Miller and her bandmates.
Bob Malone is a famously funky force of nature. That Bob Malone – a musician of soulful multitudes was a well-kept secret in L.A. for a few years, as musicians and civilians alike would speak in awe of this Jersey boy with the amazing piano chops who sang like Dr. John and wrote hip, romantic songs of his own. Bob Malone seemed like a perfect hybrid of Mose Allison with Billy Joel–melodic, always soulful, but also swinging with a deep zydeco funk. Bob Malone’s a virtuoso, but a soulful one. Malone described this song as a musical exploration of “the loss, burnout, alienation, existential dread and fleeting moments of hopefulness I happened to be going through – in spite of the carefully curated self I presented to the world on social media. Nothing new, of course, but in 2020 those feelings suddenly became more universal than they’d ever been in my lifetime.”
Buzzard Buzzard Buzzard have described this tune as a “bridge between where the band have come from and where they’re heading next”. Buzzard Buzzard Buzzard frontman Tom Rees explains: “Seeing Gen-Z’ers quitting school and actually influencing real change in place of me theorising whether Engels would have put his recycling out really brought into focus how fickle millennials (including myself) really are. I take absolute delight in lecturing a table of half-cut peers on the failures of capitalism, but little do they know my grab bag of 250 plastic guitar picks are already priming their way down the A470 straight to my door in the hands of an underpaid delivery driver with eyes like pissholes in fake snow.” So there you go. Enjoy the jam.
Sons of the East are an Australian indie folk trio formed in 2011 by Nic Johnston, Dan Wallage, and Jack Rollins. To date, they have released three EPs and a number of singles. Sons of The East have a motley acoustic – electric sound has become a unique and charismatic trademark. Soulful, joyous and irresistible.
Returning to the simpler joys of their early records, The Black Keys 10th album covers songs by the north Mississippi artists that continue to inspire them. It’s that stripped-back simmering blues. Over a 20-year trajectory from playing in bars with no audience to filling arenas, the Black Keys have never lost the blues. The Ohio duo of singer-guitarist Dan Auerbach and drummer Patrick Carney’s 10th album illustrates the point with a set of songs by the north Mississippi artists that continue to inspire them, such as Lafayette County’s late RL Burnside and Hudsonville’s also deceased Junior Kimbrough, a labelmate when the early Black Keys recorded for Fat Possum.
Canada’s The Sheepdogs have released “Keep on Loving You,” The Sheepdog’s first new music in three years. Inspired by ‘70s English rockers T-Rex, the song was recorded in Montreal last summer and produced by frontman Ewan Currie. It will be part of The Sheepdogs’ new EP No Simple Thing. “Recording together during the pandemic was like finding a life raft after floating in the ocean for 90 days,” Currie of The Sheepdogs recalled —> “We were itching to play music and above all else some human interaction. We missed the brotherly spirit us the five of us have when we get together to jam. I hope folks get a lift from ‘Keep on Loving You.’ In times of trouble or sadness, we can find comfort and solace in what is my personal holy trinity: family, friends and rock ‘n roll.”
Welshly Arms, the Cleveland band that includes singer-guitarist Sam Getz, bassist Jimmy Weaver, drummer Mikey Gould, singer Bri Bryant and singer Jon Bryant, released its latest single, “I Will Overcome.” A song that “coincides with the country’s changing political tides and rollout of the COVID-19 vaccine. We wrote ‘I Will Overcome’ about looking forward and moving past all of the division, polarization, marginalization and unrest that we had to face over the past year,” says Getz of Welshly Arms. I Will Overcome is a soulful gospel-tinged song. “Though we are still in the midst of this challenging chapter, we know a change is coming and we are ready to turn the page and step into what is next. We believe in the human spirit and the collective ability to rise up together.”
Low Cut Connie live fill us with a bounty of good vibes—Little Richard meets Mr. Rogers, maybe—is his twice-weekly interactive live stream, called “Tough Cookies.” Deprived of the thrill and the income of performing live, Low Cut Connie started broadcasting from the guest room of his row house, in South Philadelphia. “We had no plan. We just turned the phones on and hung out. And there was no audience or laughter or applause. I didn’t know how many people were watching or if they’d like it. All I knew was that at the end of the hour I was lying on the floor in my underwear, covered in sweat.” The next stream attracted a hundred and fifty thousand views. Realizing that this was going to become a regular thing, Low Cut Connie christened it “Tough Cookies.” “I named it after the people who watch it,”. Now we can look forward to a Tough Cookies album. “Tough Cookies” is a homespun variety show: music, comedy, interviews, spieling, shvitzing, stripping.
Violent Femmes are next. And live. Hell yes. “When they first started talking about reissues and the 40th anniversary, my first reaction was ’40-year anniversary of what?’ Then Violent Femmes remembered ‘oh yea, my band.’” Thinking back on the four decades of the Violent Femmes is not something singer Gordon Gano typically does, but 40 years still needed some kind of special attention. Marking the Violent Femmes four decades together, the band has reissued the long out-of-print LP, Add It Up (1981–1993), a 23-track compilation drawing from the band’s first five albums, featuring Femmes’ spitting punk anthems of “Gone Daddy Gone,” “Blister in the Sun,” “Add It Up,” and “Kiss Off,” along with early demos, B-sides, interstitial voice recordings, and imports that were unavailable in the U.S. at the time of the initial release of Add It Up, including “I Hate the TV,” “Gimme The Car,” and “Dance, M.F., Dance!”
Billy F Gibbons rip out some mean slide licks – using a beer bottle. 3rd solo album from ZZ Top bearded guy.
Los Angeles rock band The Record Company shared a cover of Cypress Hill’s Black Sunday opener “I Wanna Get High.” It’s the third single they’ve released from their covers EP Side Project. The cover takes the original and rearranges it into a pop song structure. On Cypress Hill’s 1993 classic, there’s a long buildup as B-Real sings the refrain, followed by a single verse and an outro mirroring the intro. On The Record Company’s rendition, there’s a brief intro that foreshadows the refrain, but the verse comes in much more quickly and they repeat the verse a second time after using “I wanna get high/So high” as more of a hook than a refrain. Instrumentally, it’s a more cinematic cover of the track, with an effect-laden electric guitar playing the main riff alongside rising synths and steady drums. Frontman Chris Vos of The Record Company also sounds nothing like B-Real, since Vos’ vocals are much more clearly enunciated in his somewhat-rootsy style. It just works. I like it. And you?
Music is Life. Thanks again for listening.
Spotify playlist updates on Thursday(ish). Link to Chris Bro on Spotify.
WARNING may contain bad words. Or may not. Depends.
You can listen to NEXT on the radio. Listen to NEXT on Ocean 98 in Maryland Sunday nights at 10. Or Saturday afternoon on VOBB in Canada
Artist and Song Title:
- Lord Huron – Not Dead Yet
- Torres – Don’t Go Putting Wishes In My Head
- The Marias – Hush
- Frank Turner – The Gathering
- The Beaches – Bad Behavior
- Bob Malone – Oh Well (Cover)
- Buzzard Buzzard Buzzard – New Age Millennial Magic
- Sons Of The East – On My Way
- The Black Keys – Stay All Night (Cover)
- The Sheepdogs – Keep On Loving You
- Welshly Arms – I Will Overcome
- Low Cut Connie – Let Me Roll It (Live Cover)
- Violent Femmes – Add it Up (Live)
- Billy F Gibbons – My Lucky Card (Cover)
- The Record Company – I Wanna Get High (Cover)
and remember if you love someone hug them right now