I’m not a big Indigo Girls fan — they’re too studied and too repetitive for my taste — but I have to give props to their 1992 album Rites of Passage.
On their fourth album, Emily Saliers and Amy Ray introduced a host of new sounds, including strings and exotic percussion, to add muscle to one of their strongest batches of songs.
My readers are clamoring for another installment of “In the Year of…” and who am I to deny them?
I started this series by looking at my birth year, 1972, highlighting my top five albums of the year and ten records (new to me) that received critical acclaim. I then jumped forward a decade and gave the same treatment to 1982, discovering a few gems along the way.
Now I’ll skip ahead another ten years and spend the next four weeks on 1992.
The knock on Kacey Musgraves’ sophomore album, Pageant Material is that it doesn’t stray very far from the formula that made her debut record so great.
That’s a tough criticism because it punishes the artist for doing what she does best. It’s also the sort of criticism that fades with time. Separated from the expectations of a much-anticipated new release, Pageant Material will one day be remembered as a collection of solid, enjoyable songs.
I forgot about Lorde.
Two years ago she was the biggest thing in music, wasn’t she? Her debut album was the hottest record out there and she epitomized the smart millennial mindset that scoffed at superficiality while grooving to Beyoncé and Drake.
She was cool, weird, talented and on her way to super stardom before she even turned 18.
Like yesterday, today I want to write about a song that I featured on the blog ages ago. In this case I’m going even farther back, more than seven years ago, to Song of the Day #38, Plain White T’s’ ‘Hey There Delilah.’
This song came up randomly in my car the other day and for the first time it struck me as deeply sad. Though I don’t think the text of the song implies it, I suddenly felt very strongly that the singer believes he and Delilah will never be together.
Meet Me In Montauk 