“American Dreams” by Luke Beling – A Song Feature

 

     When a person opts into an environment, there is a presumed credibility allotted to the person’s commentary about important aspects of that environment. Luke Beling was born on South Africa’s Sunshine Coast, then moved to a rural area of Kentucky at age 19. He now resides in Hawaii. His song “American Dreams” is specifically directed at the expectations of living in the United States, but Beling notes that the message applies more broadly to “often-empty things society encourages us to chase."
 
     Adding to the credibility, Beling links his song to a quote from Bruce Springsteen, the artist who released the highly acclaimed title track “Born in the U.S.A.” Years later, Springsteen said, "I have spent my life judging the distance between American reality and the American dream." Like the Springsteen song, “American Dreams” might be mistaken for a positive commentary, if the focus is on the vocal and melodic energy, rather than the lyrics. Beling begins “American Dreams” with invigorating percussion and piano. When the vocals enter, a steady kick drum drives the song forwardly. 
 
     Many of the verses of “American Dreams” carry a vagueness that enables personal interpretation, as is the situation with many well-written and insightful lyrics. But some lines are clear and poignant, such as “This sweatshop ‘til you die // It ain’t for you and I.”
 
     Luke Beling provides the lead vocals, alone with acoustic and electric guitar. The Bandcamp site for “American Dreams” identifies other contributors as Nate Barnes (drums), Erin Flood Fortier (backing vocals), Sam Howard (bass), Tyler Fortier (backing vocals, keys, piano), and Glen Yoder (electric guitar). While talking about the song, Beling explained:
  “I wrote ‘American Dreams’ a little over a year ago. The song quickly became the spark and guidepost for my upcoming album, ‘This Parlor Trick Life.’ For better or worse, the American dream (and its premise for non-Americans) is perhaps the most quintessential pursuit in our search for happiness. As a former immigrant and now a present-day citizen, I’m excited to share my take.”
 
     “American Dreams” by Luke Beling

Facebook: https://www.facebook.com/luke.beling/
Website: https://lukebeling.com/
Bandcamp: https://lukebeling.bandcamp.com/

Lyrics of “American Dreams” by Luke Beling
We’re the rats in the dark
The weeds in the yard
The banged-up Buick in that little used car lot
 
We’ve been pushing the plough
Sniffing dimes on the ground
Restless girl when we look at the moon and the stars
 
This parlor trick life
It ain’t for you and I
No
 
We got backs to the wall
We got nothing’s for sure
We got baby something more
Than American dreams
 
We got one-light parades
We got nothing’s for trade
We got baby something today
Not American dreams
 
Baby tell me you see
What they want us to be
A box full of bones for those junkyard dogs to eat
 
Let me breathe on your coals
Burn through your soul
Oh I’m just as scared but we got no more life to bleed
 
This sweatshop til you die
It ain’t for you and I
No
 
We got backs to the wall
We got nothing’s for sure
We got baby something more
Than American dreams
 
We got one-light parades
We got nothing’s for trade
We got baby something today
Not American dreams
American dreams
Not American dreams
 
Man, the game’s a ruthless tyrant
So hard to keep him silent
All the steel-tipped shoes
The five o’clock news
The girls wishing for the diamonds
 
Let’s jump the train to nowhere
We’ll tell him when we get there
We got barefoot feet
Dead-end streets
No more pans to grease
 
We got backs to the wall
We got nothing’s for sure
We got baby something more
Than American dreams
 
We got one-light parades
We got nothing’s for trade
We got baby something today
Not American dreams
American dreams
Not American dreams
(American dreams)
American dreams
Not American dreams
(American dreams)
American dreams

“Here Now” by Maximiliano – A Song Feature

 

     The start of “Here Now” demonstrates that a song's magnetic pull doesn't necessarily come from its complexity. The single from Maximiliano begins with a repeating percussion pattern and a guitar riff that together create a sense of forward motion. That feeling is amplified when the bass joins, simultaneously with the vocals. The lead guitar doesn’t make its entrance until more than 30 seconds into the song, and even then, it primarily serves to add higher-pitched ornamentation to the song's steady pace. The musicianship hints at its strength at 1:14, but "Here Now" quickly returns to its straightforward yet highly appealing instrumental foundation. It’s only during the final 30 seconds that the instruments truly show their power.
 
     Despite the instrumental appeal, it’s Maximiliano’s vocals that drive "Here Now," conveying a sense of conviction and commitment to the song’s lyrical message. In discussing the track, Maximiliano describes it as "a song about regret—not saying what you should have said, not reaching out to help when you still had the chance." His vocal style bears a resemblance to Adam Granduciel of War on Drugs. While the two songs share little beyond the word "Here" in their titles, "Here Now" evokes the vocal charisma found in "I Don't Live Here Anymore" by War on Drugs.
 
     Maximiliano is Gerardo Maximiliano (“Max”) Martinez. “Here Now” is the title track of his recently released four-song EP. More detail about a live performance is available at the event page of Saxon Pub, a music venue in Austin, Texas:
 “Maximiliano & The Texas Mamas is probably one of the better bands in the Austin area today. The local super group is made up of Maximiliano the concentrated, Austin Sisler the Daddy, Ben Dubois Master of Guitar, and Sammy G Steward of Gondor.”
 
     “Here Now” by Maximiliano

Instagram: https://www.instagram.com/maximiliano_mart/
Spotify: https://open.spotify.com/artist/1XeaKUyR2d3DxlE3i53Ds7

“Take a Look at Me” by Pally Ink– A Song Feature

 

     It’s appropriate that a song titled “Take a Look at Me” immediately reveals its personality. Within the initial 10 seconds, the vocal alteration telegraphs the emphasis on commanding vocalization, while the power percussion exposes the song as one that will not lack energy. The intensity profile of the release from Pally Ink exhibits many intriguing variations, such as a more controlled yet still energetic Lord Huron-like segment that begins around 2:15 (and a departing surge at 3:08). But the accuracy of the following description holds true throughout the single – “A big ole' bouncer of a song about self-reflection, hope and starting again.”
 
     The credits of “Take a Look at Me” identify Xander Rawlins as the writer and producer. He is a singer-songwriter and multi-instrumentalist from the UK, but also co-founded the UK/Los Angeles electronic duo LAIKIPIA (with Taylor Harrison). For a detailed understanding of his background, visit https://en.wikipedia.org/wiki/Xander_Rawlins.
 
     Pally Ink is the current home for music from Xander Rawlins. When referring to “Take a Look at Me,” Rawlins said, "Oh man does this song mean a lot to me. Hoping it'll bring positive energy and encouragement to people who need it." The power percussion was previously noted in this post, but the instrumental highlight for us is the invigorated guitar during the “Take a look at me…” chorus, which is first heard around the 1:36 mark (and repeated at 3:08).
 
     “Take a Look at Me” by Pally Ink

Facebook: https://www.facebook.com/profile.php?id=61560510386259
Instagram: https://www.instagram.com/pallyink/

“Leah” by Belle Shea – A Song Feature

 

     The theremin and bagpipes share only one attribute – namely, most Rock fans find it challenging to identify an appealing song that features one of these instruments. For bagpipes, the most notable answer is probably AC/DC’s “It's a Long Way to the Top.” And for the theremin, Belle Shea just reduced the level of difficulty with the release of “Leah.”  Shea describes her song as “a defiantly buoyant breakup song about the importance of staying soft.” 
 
     For anyone unfamiliar with the theremin, it is a rare instrument played without physically touching the instrument. A cover of "The Great Gig in the Sky" (including Clare Torry’s vocal solo) by Pink Floyd is included at the bottom of this post.
 
     “Leah” does not follow the standard composition formula of including an instrumental intro. Instead, Belle Shea leads with a reference to her ex’s baby photo. She prefers to return it, rather than burn it. The instrumentation is minimalist until the discussion of baby photos is completed, when the percussion and guitar propel the song forwardly. There is a hint of the theremin, but it remains in a backseat until the lyrics state, “And you go and play me like a theremin.” The instrument is featured during the explosive bridge that begins at the 1:52 mark.
 
     Belle Shea is based in Brooklyn, NY, but is originally from South Florida. She wrote “Leah” and contributes the vocals and guitar. The credits note that Julian Dobson and Jason Sill also provide guitar for the song. The bass is from Eric Messihi and drummers are Morgan Parker and Ben Thomas. Laura Zawarski contributes violin. “Leah” was mixed by Melina Duterte (Jay Som).
 
     Joni Mitchell is found among the lyrical influences identified in Shea’s bio. This was interesting to us, since Shea and Joni Mitchell both reference Manhattan’s Bleeker Street. As a non-New Yorker, it is not a street we hear about often. In “Leah,” the protagonist takes a job at a “dive bar down off of Bowery and Bleecker,” while in Mitchell’s 1976 “Song for Sharon,” Mitchell pays someone down on Bleeker street to light a candle for her love luck, “and 18 bucks went up in smoke.”  
 
     “Leah” by Belle Shea

Facebook: https://www.facebook.com/bellesheamusic/
Website: https://www.belleshea.com/

Lyrics of “Leah” by Belle Shea
I put your baby photo in the stuff you asked me to return
When all was said and done
I couldn't stand to see it burn
 
I got invited to see a couple friends of yours play in a show
After all you did
I can't believe they'd think I'd wanna go
 
And I couldn't erase you even if I tried
With all your witty little criticisms ringing out through my mind
And it broke my heart when Benny took your side
He said, if I didn't want it, why did I make you mine?
 
I took a job at a dive bar down off of Bowery and Bleecker
Saw a girl there, she looked just like you
I hid in the bathroom
Cause I couldn't meet her
 
And lately I've been wondering if I'll ever feel like the same
I had to leave the synagogue
I couldn't bear to hear your name
 
And you go and play me like a theremin
It's like you're making these old wounds sing
It doesn't matter where I go
It's where I think you've been
I gave you my best
You wanted my everything
 
And ok, I believe you
You're doing what you need to
But I would never be cruel like you
I could but I refuse to
 
Ok, babe, be honest
You're doing what you promised
You say you don't know anyone soft like me
Well now I see why