The once heralded noise trio Black Rebel Motorcycle Club took the stage to a capacity crowd at Washington DC's premier rock club on a hazy Saturday night. The 9:30 club was filled with a strange mix of post-hipsters (Jesus and the Mary Chain influences are so 2003), neo-hippies and at least three generations of one family (who may well have been made up of both post-hipsters and neo-hippies).
Anyway, as best as I can remember (and with the show starting at 11:30, we were well past peak remembering time), BRMC began their set with the opening tracks from "Baby 81", starting with the bluesy "Took Out a Loan", the more straightforward "Berlin" and the apathetic "Weapon of Choice". BRMC had a very businesslike approach to their first 10 or so songs, until relaxing a bit with some older, more "worn in" songs like "Shuffle Your Feet", "666 Conducer" and "Stop".
The encore took a nice turn, as Peter stayed on stage and played a couple of acoustic/harmonica songs from "Howl" (I think "Devil's Waitin'" and "Fault Line"). These songs were very intimate and resonated with the crowd. The rest of the band returned confidently, adding a nice touch with a trombone on "Promise" and rocking through fan favorite "Ain't No Easy Way". As the show continued well past the 20 song mark, the band began taking requests and blistering through early material like "Six Barrel Shotgun". While by no means a historic performance, BRMC left the DC crowd buzzing from nearly two hours of quality Americana rock.
12 June 2007
21 May 2007
April '07 Releases
Keeping up my commitment to write something at least once a month, regardless of whether or not anybody ever reads it.
Arctic Monkeys - Favourite Worst Nightmare
Bright Eyes - Cassadaga
Conor Oberst is a polarizing figure. While an excellent storyteller and decent socal commentator, his previous works tended toward a lack of depth and were easily dismissed as music from an angry young man. No matter how thoughful his lyrics, they were often presented off key and over a single acoustic guitar, kinda boring. From the opening comments of a female fortune teller, we learn that "Cassadaga" represents a journey of the soul for Conor, one that has not only changed him, but richly enhanced his sound (and maybe hanging out with M. Ward hasn't hurt either). Opening tracks, "Four Winds" and "If The Brakeman Turns My Way" show a more relaxed, more confident Oberst sharing the stage with much fuller arrangements. As the album continues, it is evident that Oberst has made a conscious effort to improve his vocals, not only sonically, but also in the way they interact with his expanded sound. On the album's most complete song "Middleman", Oberst allows his string section to drive the song, while using his lyrics to complement, a far cry from his previous works. "Coat Check Dream Song" may be Oberst's best vocal performance and works very well with a hazy, wandering arrangment. The album concludes with the more typical Bright Eyes songs "Somewhere I Belong" and "Lime Tree", which, after some of the denser, more produced songs, prove to be a welcome return what Oberst has always done best. "Cassadaga" proves to be the best type of journey, some unexpected twists and turns, some personal growth and some enjoyable tunes.
Peter, Bjorn and John - Writer's Block
Arctic Monkeys - Favourite Worst Nightmare
The Monkeys kick off their highly anticipated sophomore effort with the driving "Brainstorm" (or "Brianstorm" depending where you look) which shows the Arctic Monkeys with a sharper edge and tongue than they displayed on their debut. "Teddy Picker" follows with several shots at today's fickle rock critics who "take an oath that says 'we are defenders of any poseur or professional pretender' ". Alex Turner best performance is on the narrative "Florescent Adolescent", describing the recollection of a bored married woman who traded "all her naughty nights for niceness" and is left with only the memory of "the best she ever had". Unfortunately, the stretch run of the album gets a little stale with several indescript songs that seem to ignore Turner's knack for storytelling. Despite some catchy tunes and a harder sound, "Favourite Worst Nightmare" fails to match the sincerity or intensity of its predecessor.
Bright Eyes - Cassadaga
Conor Oberst is a polarizing figure. While an excellent storyteller and decent socal commentator, his previous works tended toward a lack of depth and were easily dismissed as music from an angry young man. No matter how thoughful his lyrics, they were often presented off key and over a single acoustic guitar, kinda boring. From the opening comments of a female fortune teller, we learn that "Cassadaga" represents a journey of the soul for Conor, one that has not only changed him, but richly enhanced his sound (and maybe hanging out with M. Ward hasn't hurt either). Opening tracks, "Four Winds" and "If The Brakeman Turns My Way" show a more relaxed, more confident Oberst sharing the stage with much fuller arrangements. As the album continues, it is evident that Oberst has made a conscious effort to improve his vocals, not only sonically, but also in the way they interact with his expanded sound. On the album's most complete song "Middleman", Oberst allows his string section to drive the song, while using his lyrics to complement, a far cry from his previous works. "Coat Check Dream Song" may be Oberst's best vocal performance and works very well with a hazy, wandering arrangment. The album concludes with the more typical Bright Eyes songs "Somewhere I Belong" and "Lime Tree", which, after some of the denser, more produced songs, prove to be a welcome return what Oberst has always done best. "Cassadaga" proves to be the best type of journey, some unexpected twists and turns, some personal growth and some enjoyable tunes.
Peter, Bjorn and John - Writer's Block
I know what you are thinking, " 'Writer's Block' came out in February (and last August in the uppity UK), so what is it doing in the April reviews?" Well, your point is well taken, but I only bought two albums that were released in April, so I needed some filler. Enter three Swedes name Peter, Bjorn and John.
"Writer's Block" comes roaring out of the gate with "Object of My Affection", a passionate, focused effort about the author's personal growth set over aggressive guitar and steady march drums. Concretes' singer Victoria Bergsman adds a nice change of pace (and more than a little sexual tension) on the addictive "Young Folks" (which also includes the best use of whistling since Guns 'n Roses "Civil War"). The minimal "Amsterdam" has Peter, Bjorn and John doing their best Hot Chip impression and coming off pretty well. The album continues to flow along continually exposing the listener to new ideas and sounds, peaking at the 7:00 minute epic "Up Against the Wall" which comes across as neither pretentious or stale. "Let's Call It Off" lightens the mood, mostly through hand claps, despite its buyer's remorse attitude toward a failing relationship. "Writer's Block" concludes with the anti-consumerism "Poor Cow", an appropriate ending since it is the last the string of continually changing topics from Peter, Bjorn and John. From start to finish, "Writer's Block" feels like a long night of drinking and discussing life. It may not always have continuity and focus, but in a way it does.
Upcoming May album reviews: Black Rebel Motorcycle Club, Feist, Wilco
Live: Black Rebel Motorcycle Club
03 May 2007
March Releases '07
How the hell did we get to May without addressing the great albums that came out in March? Oh yeah, I'm lazy. Here's the rundown:
Low - Drums and Guns
Minnesota slo-core band Low returns with their follow up to 2004's "The Great Destroyer" and deliver another unique effort. Opening track "Pretty People" reminds us over hazy guitar and strict beats that we are "all going to die". While "Pretty People" may set the mood of the album, second track "Belarus" lays out the blueprint with it's sterile, industrial feel. Gone are the big, easily accessible sounds of favorites like "California", replaced with calculated drums and heavily distorted, yet understated guitar. This formula, combined with minor keys, provides excellent tension throughout the album, coming to a natural conclusion on "Murderer" and "Violent Past". A well thoughtout and crafted album that will reward listeners that can overcome its rough exterior.
Air - Pocket Symphony
The eclectic Frenchmen kick off "Pocket Symphony" with the instrumental "Space Maker" a dreamy guitar/piano combination, which once again proves that Air knows how to make music equally suited for waking up and "going to bed". Unfortunately, album-wise Air has the problem of having to live in their own shadow, which includes one of the best electronica albums of all time (1999's "Moon Safari") and the best film score of all time (2000's soundtrack to Sofia Coppola's "The Virgin Suicides"). "Pocket Symphony" is the group's most understated work to date, using tracks like "Mayfair Song" and "Lost Message" to create atmosphere, but it hardly seems like new ground. Air does provide a new wrinkle, relying on Pulp's Jarvis Cocker to carry the slow moving (i.e. hungover) "One Hell of a Party" and allowing Divine Comedy's Neil Hannon to shape the excellent "Somewhere Between Waking and Sleeping". Again, nothing new here, but a pleasant listen.
Arcade Fire - Neon Bible
The Arcade Fire follow up 2004's unexpected classic (and possibly Album of the Decade!!) "Funeral" with the most anticipated album of 2007. "Black Mirror" leads the album off in typical Arcade Fire style, heavy and ominous with Win's vocals teetering on the edge. After "Black Mirror", "Neon Bible" storms out of the gate with "Keep the Car Running" and "Intervention" proving the Arcade Fire are able to perfectly deliver their emotions through song. Unfortunately this is where things turn a little sour. "Black Wave/Bad Vibrations" is clumsy and heavy-handed, while "Ocean of Noise" suffers from a lack of drive, leaving the middle of the album feeling empty and underdeveloped. "The Well and the Lighthouse" gets things back on track in a completely adequate way, before "(Antichrist Television Blues)" delivers the passion, songwriting and tension only the Arcade Fire can provide. Fittingly the album ends with "My Body is a Cage", the song that best distinguishes "Neon Bible" from its predecesor. Where "Funeral" ended "In the Backseat" with the listener sharing Regine's devastation and helplessness, "Neon Bible" concludes with the awkward and vague "My Body is a Cage". This emotional disconnect that permeates the album is ultimately why "Neon Bible" fell short of (admittedly) unfair expectations.
Low - Drums and Guns
Minnesota slo-core band Low returns with their follow up to 2004's "The Great Destroyer" and deliver another unique effort. Opening track "Pretty People" reminds us over hazy guitar and strict beats that we are "all going to die". While "Pretty People" may set the mood of the album, second track "Belarus" lays out the blueprint with it's sterile, industrial feel. Gone are the big, easily accessible sounds of favorites like "California", replaced with calculated drums and heavily distorted, yet understated guitar. This formula, combined with minor keys, provides excellent tension throughout the album, coming to a natural conclusion on "Murderer" and "Violent Past". A well thoughtout and crafted album that will reward listeners that can overcome its rough exterior.
Air - Pocket Symphony
The eclectic Frenchmen kick off "Pocket Symphony" with the instrumental "Space Maker" a dreamy guitar/piano combination, which once again proves that Air knows how to make music equally suited for waking up and "going to bed". Unfortunately, album-wise Air has the problem of having to live in their own shadow, which includes one of the best electronica albums of all time (1999's "Moon Safari") and the best film score of all time (2000's soundtrack to Sofia Coppola's "The Virgin Suicides"). "Pocket Symphony" is the group's most understated work to date, using tracks like "Mayfair Song" and "Lost Message" to create atmosphere, but it hardly seems like new ground. Air does provide a new wrinkle, relying on Pulp's Jarvis Cocker to carry the slow moving (i.e. hungover) "One Hell of a Party" and allowing Divine Comedy's Neil Hannon to shape the excellent "Somewhere Between Waking and Sleeping". Again, nothing new here, but a pleasant listen.
Arcade Fire - Neon Bible
The Arcade Fire follow up 2004's unexpected classic (and possibly Album of the Decade!!) "Funeral" with the most anticipated album of 2007. "Black Mirror" leads the album off in typical Arcade Fire style, heavy and ominous with Win's vocals teetering on the edge. After "Black Mirror", "Neon Bible" storms out of the gate with "Keep the Car Running" and "Intervention" proving the Arcade Fire are able to perfectly deliver their emotions through song. Unfortunately this is where things turn a little sour. "Black Wave/Bad Vibrations" is clumsy and heavy-handed, while "Ocean of Noise" suffers from a lack of drive, leaving the middle of the album feeling empty and underdeveloped. "The Well and the Lighthouse" gets things back on track in a completely adequate way, before "(Antichrist Television Blues)" delivers the passion, songwriting and tension only the Arcade Fire can provide. Fittingly the album ends with "My Body is a Cage", the song that best distinguishes "Neon Bible" from its predecesor. Where "Funeral" ended "In the Backseat" with the listener sharing Regine's devastation and helplessness, "Neon Bible" concludes with the awkward and vague "My Body is a Cage". This emotional disconnect that permeates the album is ultimately why "Neon Bible" fell short of (admittedly) unfair expectations.
01 May 2007
Arctic Monkeys Live on Conan O'Brien 4-30-07
After an uninspired performance of "Brainstorm" last Thursday on Jimmy Kimmel Live, the Arctic Monkeys joined up with the king of late night TV for the first show in his week long stint in San Francisco. I fully realize that the Monkeys just released a new album, but I will be more than a little bit disappointed if they pass on this golden opportunity to play "Fake Tales of San Francisco".
Skipping over what was probably a very interesting and relevant interview with Dana Carvey, I stopped to watch some dude named Jasper Redd attempt social comedy, ouch. After fast forwarding past some more commercials, I finally got to Alex Turner and his mates. Conan introduces the Monkeys and says they are playing a song off their new album, so much for "Fake Tales". Instead it's "Brainstorm" again, but this time Turner looks slight more interested to be performing than he did on Kimmel. The song starts out in typical Monkeys style, fast and tight driven by heavy percussion. Turner adds in his biting lyrics as the song transitions naturally before a brief stop and crescendo. Everything we've come to expect from the Monkeys, but little else. Maybe "Fake Tales" wouldn't have been such a bad idea.
Skipping over what was probably a very interesting and relevant interview with Dana Carvey, I stopped to watch some dude named Jasper Redd attempt social comedy, ouch. After fast forwarding past some more commercials, I finally got to Alex Turner and his mates. Conan introduces the Monkeys and says they are playing a song off their new album, so much for "Fake Tales". Instead it's "Brainstorm" again, but this time Turner looks slight more interested to be performing than he did on Kimmel. The song starts out in typical Monkeys style, fast and tight driven by heavy percussion. Turner adds in his biting lyrics as the song transitions naturally before a brief stop and crescendo. Everything we've come to expect from the Monkeys, but little else. Maybe "Fake Tales" wouldn't have been such a bad idea.
22 April 2007
Spoon Live at Sonar 4-21-07 Baltimore, MD
The boys from Spoon kicked off their tour in support of the upcoming album ("Ga Ga Ga Ga Ga" or "It's Frightening" depending on who you believe) at Baltimore's Sonar. Maybe they really like the inner harbor, are big Orioles fans, or enjoy the Natty Bo, but odds are they are just tuning up for the big NYC show. If the Sonar show were any indiction, they don't need much work.
Since I haven't been able to find a set list, were going to have to do this from memory, which is always a bit hazy whenever Yuengling is involved. Britt Daniel and the boys announced their return to the road with AC/DC's "Back in Black" and despite some lighting issues rattled off two new songs. The first half of their set was centered around new songs (sorry, no names), with the band working really hard to successfully keep the songs tight. The new songs seemed to rely less on Britt's vocals and worked really well building up and relieving tension.
The second half of Spoon's set focused on "Gimme Fiction" and the high points of "Kill the Moonlight". An energetic Britt gave an inspired performance of "The Beast and Dragon, Adored" and "I Turn My Camera On", while the rest of the band carried the songs with little rust. Another possible technical problem killed some momentum at the beginning on "Paper Tiger", but crowd favorite "The Way We Get By" got things back on track.
After a brief break, Britt returned for the encore and played a solo guitar song, before the rest of the band joined him for "Small Stakes". Spoon ended their Sonar set with "My Mathematical Mind" and absolutely let loose, jamming and distorting to a crescendo and then walking off stage. All in all, an excellent and focused performance that was an introduction to some new songs and a passionate review of some old favorites. Well done Spoon.
Since I haven't been able to find a set list, were going to have to do this from memory, which is always a bit hazy whenever Yuengling is involved. Britt Daniel and the boys announced their return to the road with AC/DC's "Back in Black" and despite some lighting issues rattled off two new songs. The first half of their set was centered around new songs (sorry, no names), with the band working really hard to successfully keep the songs tight. The new songs seemed to rely less on Britt's vocals and worked really well building up and relieving tension.
The second half of Spoon's set focused on "Gimme Fiction" and the high points of "Kill the Moonlight". An energetic Britt gave an inspired performance of "The Beast and Dragon, Adored" and "I Turn My Camera On", while the rest of the band carried the songs with little rust. Another possible technical problem killed some momentum at the beginning on "Paper Tiger", but crowd favorite "The Way We Get By" got things back on track.
After a brief break, Britt returned for the encore and played a solo guitar song, before the rest of the band joined him for "Small Stakes". Spoon ended their Sonar set with "My Mathematical Mind" and absolutely let loose, jamming and distorting to a crescendo and then walking off stage. All in all, an excellent and focused performance that was an introduction to some new songs and a passionate review of some old favorites. Well done Spoon.
22 March 2007
February Releases
Since it's about 2/3 the way through March, it's probably a good time to take a look at your February releases:
Field Music - Tones of Town
Part Belle & Sebastian, part Spoon, part Futureheads (yeah, what the fuck?), these three Brits fail to match the quality of these indie stalwarts (and the Futureheads). While an enjoyable listen, Tones of Town has little depth or imagination. Relying too much upon vocals and harmonies, Field Music failed to fully develop and explore their sound.
Fall Out Boy - Infinity On High
The Chicago faux-punk band returns with another round of instantly likeable/danceable power pop songs. While not as strong as "From Under the Cork Tree", "Infinity On High" has some very strong efforts, highlighted by "Thnks Fr Th Mmrs", a not so subtile cut at their MySpace following and early contender for song of the year. Unfortunately, there are some uninspired portions of this record and the Kanye West remix of "This Ain't a Scene, It's an Arms Race" on their MySpace page is complete garbage (I know MySpace remixes shouldn't count against an album, but it's just that bad. Check it out: http://www.myspace.com/falloutboy ).
Bloc Party - A Weekend In the City
Bloc Party leads off their highly anticipated second album with "Song For Clay (Disappear Here)" a blistering song that adequately captures Kele's fear to "merge on the freeway". The songs immediately following "Song For Clay" match the high points of "Silent Alarm", describing the boredom of modern life in both music and lyrics. "Uniform" is a bit contrived and forced, but still interesting. Then somewhere around Track 6 ("On") the listener begins to realize the horrible truth; "A Weekend In the City" has been front loaded and is steadily declining in quality. On the six songs that conclude the album, Bloc Party sounds unsure of the message they want to send or how they want it to sound. The one thing they are sure of is that none of these songs can last less than an excrutiating 4:23. A fast start with an unfocused finish leave "A Weekend In the City" feeling like a major disappointment, but what should we have expected, it's modern life.
March Releases:
Arcade Fire, Low, Air and Albert Hammond Jr.
Field Music - Tones of Town
Part Belle & Sebastian, part Spoon, part Futureheads (yeah, what the fuck?), these three Brits fail to match the quality of these indie stalwarts (and the Futureheads). While an enjoyable listen, Tones of Town has little depth or imagination. Relying too much upon vocals and harmonies, Field Music failed to fully develop and explore their sound.
Fall Out Boy - Infinity On High
The Chicago faux-punk band returns with another round of instantly likeable/danceable power pop songs. While not as strong as "From Under the Cork Tree", "Infinity On High" has some very strong efforts, highlighted by "Thnks Fr Th Mmrs", a not so subtile cut at their MySpace following and early contender for song of the year. Unfortunately, there are some uninspired portions of this record and the Kanye West remix of "This Ain't a Scene, It's an Arms Race" on their MySpace page is complete garbage (I know MySpace remixes shouldn't count against an album, but it's just that bad. Check it out: http://www.myspace.com/falloutboy ).
Bloc Party - A Weekend In the City
Bloc Party leads off their highly anticipated second album with "Song For Clay (Disappear Here)" a blistering song that adequately captures Kele's fear to "merge on the freeway". The songs immediately following "Song For Clay" match the high points of "Silent Alarm", describing the boredom of modern life in both music and lyrics. "Uniform" is a bit contrived and forced, but still interesting. Then somewhere around Track 6 ("On") the listener begins to realize the horrible truth; "A Weekend In the City" has been front loaded and is steadily declining in quality. On the six songs that conclude the album, Bloc Party sounds unsure of the message they want to send or how they want it to sound. The one thing they are sure of is that none of these songs can last less than an excrutiating 4:23. A fast start with an unfocused finish leave "A Weekend In the City" feeling like a major disappointment, but what should we have expected, it's modern life.
March Releases:
Arcade Fire, Low, Air and Albert Hammond Jr.
13 March 2007
VH1 Top 10 Countdown
It was on my DVR, so here is a run down of the shit America is listening to...
10) Christina Aguilera - Candyman
X-tina is back and looking classier and sexier than ever (take that Britney!) and kinda rocking out on this big band, post-WWII era song. Christina is discrete with her vocals and sexual references and this song is pretty enjoyable (again, take that Britney!).
9) Nelly Furtado - Say It Right
Timbaland gets the beats right, but Furtado is underwhelming, especially on the chorus. Would somebody get J-Lo singing in English again so we can get this girl hip hop lite stuff right? Also, the video sucks.
8) Fall Out Boy - This Ain't A Scene, It's An Arms Race
Chi town's fav pop punkers return with a follow up as disappointing as the White Sox 2006 title defense. Sure it was over .500, but not championship caliber. The video is moderately something, but I'm not sure what.
7) Blue October - Into The Ocean
Whew, I was starting to think American's stopped listening to terrible metal-lite. Somebody get Aaron Lewis on the phone, he may still have a market. Blue October added some generic strings and female backing vocals in an attempt to get idiots to think their music has merit, nice job guys. I guarantee this song is huge at West Virginia sorority houses.
6) Nickelback - If Everyone Cared
The twenty seconds I spent fast forwarding through this song were excruciating.
5) Evanescence - Lithium
Hey, it's a bad American Idol audition combined with the Trans Siberian Orchestra. The music is mildly interesting, but this chick is bad. Why couldn't they just play the Nirvana classic? Wouldn't everyone like that?
4) The Killers - Read My Mind
One of my favorite Killers songs and a pretty decent video. Nothing trying to be too cerebrial here, just hanging out in Japan, well done guys. Also, Brandon Flower's new mustache needs a solo album, of this much I am certain.
3) Regina Spektor - Fidelity
Nice effort by Spektor and an excellent video tie in. Everything here works with everything else, maybe the folks that vote in the VH1 Top 10 Countdown know what they are doing.
2) Augustana - Boston
It just wouldn't be VH1 without a piano ballad and Augustana is happy to oblige. This song is completely paint by numbers:
piano, check
lyrics about being misunderstood and wanting to start over, check
rising strings as the song reaches a climax, check
video on the beach, check.
softly singing the sappy lyrics over just the piano as the song fades out, check
1) Daughtry - It's Not Over
WHOA, apparently Aaron Lewis's phone hasn't been turned off and apparently he had enough Staind money left over to buy a pair of leather pants. "Let's start over, I'll try to do the right thing this time around, It's not over, A part of me is standing in the crowd, this love is killing me, but you are the only one, It's not ovvvvvvvvvvvvvvvvvver". America you have really spoken.
10) Christina Aguilera - Candyman
X-tina is back and looking classier and sexier than ever (take that Britney!) and kinda rocking out on this big band, post-WWII era song. Christina is discrete with her vocals and sexual references and this song is pretty enjoyable (again, take that Britney!).
9) Nelly Furtado - Say It Right
Timbaland gets the beats right, but Furtado is underwhelming, especially on the chorus. Would somebody get J-Lo singing in English again so we can get this girl hip hop lite stuff right? Also, the video sucks.
8) Fall Out Boy - This Ain't A Scene, It's An Arms Race
Chi town's fav pop punkers return with a follow up as disappointing as the White Sox 2006 title defense. Sure it was over .500, but not championship caliber. The video is moderately something, but I'm not sure what.
7) Blue October - Into The Ocean
Whew, I was starting to think American's stopped listening to terrible metal-lite. Somebody get Aaron Lewis on the phone, he may still have a market. Blue October added some generic strings and female backing vocals in an attempt to get idiots to think their music has merit, nice job guys. I guarantee this song is huge at West Virginia sorority houses.
6) Nickelback - If Everyone Cared
The twenty seconds I spent fast forwarding through this song were excruciating.
5) Evanescence - Lithium
Hey, it's a bad American Idol audition combined with the Trans Siberian Orchestra. The music is mildly interesting, but this chick is bad. Why couldn't they just play the Nirvana classic? Wouldn't everyone like that?
4) The Killers - Read My Mind
One of my favorite Killers songs and a pretty decent video. Nothing trying to be too cerebrial here, just hanging out in Japan, well done guys. Also, Brandon Flower's new mustache needs a solo album, of this much I am certain.
3) Regina Spektor - Fidelity
Nice effort by Spektor and an excellent video tie in. Everything here works with everything else, maybe the folks that vote in the VH1 Top 10 Countdown know what they are doing.
2) Augustana - Boston
It just wouldn't be VH1 without a piano ballad and Augustana is happy to oblige. This song is completely paint by numbers:
piano, check
lyrics about being misunderstood and wanting to start over, check
rising strings as the song reaches a climax, check
video on the beach, check.
softly singing the sappy lyrics over just the piano as the song fades out, check
1) Daughtry - It's Not Over
WHOA, apparently Aaron Lewis's phone hasn't been turned off and apparently he had enough Staind money left over to buy a pair of leather pants. "Let's start over, I'll try to do the right thing this time around, It's not over, A part of me is standing in the crowd, this love is killing me, but you are the only one, It's not ovvvvvvvvvvvvvvvvvver". America you have really spoken.
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