The Songs of My Decade

Lucky 15

Here are 15 songs that defined the 2010s for me. Is each one of these songs the absolute best from each of these bands' catalogs? Not necessarily, but they're all important to me for their own reasons. As a matter of fact, I could probably do separate posts for most of the bands on this list covering the ways in which they musically shaped the 2010s for me.

There are lots of really great decade-end lists out there in the world. They all have otherworldly songs by Frank Ocean, Kendrick Lamar, Lana Del Rey, and more on them; and you should absolutely go check those out. These are just the songs that, for one reason or another, came into my head when I asked myself what I'd put on this list. Some of those reasons are quite specific, and some were just more of a general feel. I was gonna write some big blurb about every one of the songs here; but, really, you can either just listen to them or look back through the archives to get a sense of why these songs made it.

Admittedly, my musical taste is pretty narrow for someone who claims to be a music blogger; but it is what it is.

Anyway...

15. "Out of Tune," Real Estate (2011)



14. "I Can Change," LCD Soundsystem (2010)



13. "Erasure," Superchunk (2018)



12. "Step," Vampire Weekend (2013)



11. "Queen of Hearts," Fucked Up (2011)



10. "Sleep When Dead," A Giant Dog (2016)



9. "Jellyfish," Laura Stevenson (2015)



8. "Bad Art & Weirdo Ideas," Beach Slang (2015)



7. "Resilient Bastard," Shellshag (2010)



6. "Real Bad Case," Hot Blood (2014)



5. "Sleep Wounds," Lowlight (2017)



4. "Same Mistakes," The RockNRoll Hi-Fives (2018)



3. "Bird in a Cage," Dentist, (2014)



2. "It All Means Nothing," Screaming Females (2012)



1. "A More Perfect Union," Titus Andronicus (2010)

Guest List: Dana Yurcisin -- Asbury Park-Based Photographer, Filmmaker, Musician (In Other Words, "Local Creative")

Dana Yurcisin

Top Albums of 2019

By Dana Yurcisin

[The members of Grasser are really providing us with some A-plus content this week. Today, we have the Top Albums of 2019 from Dana Yurcisin. In addition to being a member of Grasser and Static Sex, Dana is also a filmmaker and photographer. You may be familiar with the clip for Dentist's "The Latter" that he directed for the band.

Once again, we have a a list that's given me a lot of new things to check out. Hopefully, this does the same for you.

Thanks, Dana.]

I'm Dana Yurcisin, Asbury Park-based musician (Grasser, Static Sex), filmmaker & photographer (IG: @danayurcisin). We're currently starting work on Grasser's first LP. I'm finishing two solo LPs, and will have multiple music videos and short films (including a documentary on the making of Earth Telephone's debut LP) all coming out in 2020.


11. Liturgy, H.A.Q.Q.

I'm playing catch-up on Liturgy. They're one of those bands that sits on your radar for years before you decide one day to actually listen to them. That day came, and I started with their newest release. It didn't take long before I was swept up by their all-encompassing mass of sound: Battering blast beats, tremolo picked guitars, choral chants, pretty bells -- they throw the entire fucking kitchen sink at us; but it creates a listening experience unlike any other. Like sitting in the center of a category five hurricane, surrounded by destruction but presented with a gorgeous view, these nine tracks combine devastation and beauty in such a way that you can only respond with awe… at least after the ringing in your ears has ceased.

"Real" black metal fans hate liturgy for mixing traditional black metal sounds with anything but (and for not wearing corpse paint, but we can have an entire discussion on that alone elsewhere), but genre-agnostics will find that very element the most enticing and rewarding. If you've a taste for the brash & the heavy, but bore quickly of things played too straight, Liturgy just might be what the doctor ordered.

10. black midi, Schlagenheim

I'll admit that I came to this one way late, too. My first listen was last week, since I had seen a live video of the band earlier in the year and singer Geordie Greep's voice turned me off like a goddamn light switch. Boom. I was over them before even starting… Or was I? I had to know what the fuss was all about, so I threw on the record and let it play all the way through. Now, I'll maintain that I kind of wish Matt Kelvin was their only singer here; but at the same time, these dudes haven't even hit 21 yet and I expect them to develop more over time. And the music? Jesus christ… the music.

Having listened to god knows how many guitar rock records over my 31 years, this was like hearing the guitar for the first time all over again. What IS that sound? What is THAT sound?! Schlagenheim is a record that is simultaneously all over the place and singular in its vision. It sounds like fifty things at once, but no other band sounds like *these* fifty things. The riffs are heavy, the shifts are swift, and the band's electrifying energy is ever-present. Let your guard down and open yourself to the future of guitar music.

9. DIIV, Deceiver

Shoegaze isn't dead, and it never will be if bands like DIIV have anything to say about it. There's a holy, cleansing power to the genre-specific sound of layered, reverb'd guitars cranked up to eleven, which makes it all the more fitting a platform for singer Zachary Cole-Smith to write about kicking a heroin addiction. If DIIV's last record, Is The Is Are, was a bit of a false narrative on that front, this time, he means it. "I can help you / It's how I help myself," goes one line from "Skin Game," succinctly summing up how the road to recovery is never a solo effort. In the same vein, shoegaze all but requires a surrender of individual sound in favor of a unified mass, and when they kick on the fuzz, these guys meld into a transcendent whole. Listen to the ways the interweaving guitar lines of "Blankenship"'s wordless chorus work together to create one earworm of a riff, or how the fuzzed-out chords of "Horsehead"'s final stretch layer on top of one another until they threaten to swallow Smith's voice entirely, and you'll understand the power of a unified front.

8. Peaer, A Healthy Earth

Intellectual essays aren't known to be "fun" reads. After all, critical thinking typically requires a sort of clear-headed sobriety, and neither "clear-headed" nor "sobriety" are terms often associated with a good time. Peaer strap a firecracker to that idea and blow it to bits. Each of the songs on A Healthy Earth could serve as the genesis for a collegiate thesis, examining the myriad ways our existence is threatened by both the minutiae of our day-to-day and society at large: That shampoo you use is killing you. Common decency seems to be lacking entirely from all those in power. Romantic relationships are nearly impossible to maintain on a molecular level. Why can't we just be dogs instead? All of these ideas are explored with music of matching curiosity and dynamism, from the quietest of whispers and barely-there drums to the frenzied thrash of a fuzz-fucked freakout. If the unexamined life is not worth living, Peaer's greatest gift to us is its very existence.

7. Big Thief, UFOF / Two Hands

Okay obviously cheating a bit, but I don't care. Sometimes a band comes along whose members counterbalance and complement each other so well it seems the gods have deemed their meeting necessary. Big Thief released UFOF earlier this year to widespread critical acclaim for its mystical lyrical impressionism, celestial soundscapes and tight band dynamics; and they could've easily coasted for two to three years off its success. But why stop there when you're so tuned in to the same elevated frequency as these four musicians? With no decent answer to that question, they quickly hit a Texas studio to record the terrestrial counterpart to UFOF, Two Hands. What it lacks in experimental sonics and texture, it more than makes up for with warmth and raw, visceral power.

"Forgotten Eyes" has the pleasing sway and familiarity of a song you've known forever and never tire of. "The Toy" has a vocal line that worms its way into your head in seconds. And "Not" quite possibly deserves a spot in the canon of Greatest Rock Songs Ever, Adrianne Lenker’s spit speckling the mic as she shouts about all of the things it is not before erupting with an explosive and chaotic guitar solo. The gods look down and can't help but smile.

6. Earl Sweatshirt, Feet of Clay

I'm just going to come out and say it: Earl Sweatshirt is the best natural rapper alive. Like his Odd Future brethren Tyler, The Creator, Thebe Kgositsile continues to mature and leave his early roots of shock-baiting horrorcore in the rearview. Though unlike Tyler, whose sound has blossomed outward to grand new heights, Earl pushes his music in a more insular direction, like inviting listeners directly into the crevices of his fragmented and busy brain. His beats force us to reckon with what we consider the very definition of a "beat" -- slowed, chopped, garbled to shit, the samples are all but unrecognizable in his hands, and it's mesmerizing. His flow & wordplay are unfuckwithable. Lyrics like "Sellin' kids culture with death, circlin' like carrion / The more the merrier, phone got you livin' vicarious" and "Somebody tooted in the student commons / The bell rang, he went home to argue in the comments / I watched the doppler move / I watched a child get introduced to violence" allude to stories so much larger than their songs' runtimes that they can be infinitely pored over and studied, yielding new meaning and insight each time out. Since last year's Some Rap Songs, he's perfected this sort of micro yet deeply layered storytelling, and I can't wait to hear where he takes it next.

5. Operators, Radiant Dawn

One of indie-rock's most dependable and under-appreciated songwriters returns with his dance-punk outfit Operators to throw one last strobe-lit party for the end times. Dan Boeckner, Devojka, and Sam Brown paint a picture of apocalyptic oblivion in neon brushstrokes -- Springsteenian major-chord progressions are soaked in swaths of vintage analogue synths and glued together by Brown's motorik rhythms. It's as danceable as it is devastating in its indictments of late-capitalism and rising fascism, but -- especially when experienced live -- you can't help but feel thrillingly alive once submitted to its pulse-pounding trance, even as the bombs fall.

4. Bon Iver, i,i

Following the huge stylistic shift in 22, A Million -- an album I respected more than I enjoyed -- Justin Vernon and friends return with perhaps their most powerful statement yet. The experimentations that defined the previous record are refined to a perfectionist's pitch on i, i, producing a more positive and uplifting listening experience that seems to echo Vernon's newfound mental peace in the face of life-altering fame. Songs melt in and out of focus, a sound collage of dozens of musical ideas and collaborators with seemingly no single point of origin that could only be created by a group wholly committed to the idea of the obliteration of self. Of course, none of this would be relevant if the songs weren't good, but try listening to a track like "Hey, Ma" or "U (Man Like)" and not finding yourself absentmindedly humming the chorus moments later. You can't, and you won’t mind.

3. (Sandy) Alex G, House of Sugar

Studio-magician and songwriter (Sandy) Alex G has a knack for creating mysterious and occasionally inscrutable musical worlds that defy  categorization. Instead of simply skating by on familiar folk and Elliot Smith-isms (which, he could -- his songwriting is that good), he takes his obvious stylistic inspirations and infuses them with helpings of electronica, vaporwave, noise and experimental abstraction. This indelible tinkerer's spirit rewards more of the brain's pleasure centers than your typical singer-songwriter and is honed further on House of Sugar, resulting in his most sonically pristine and rich -- yet no less idiosyncratic -- album to date.

2. Pile, Green and Gray

Beloved Boston post-hardcore band Pile aren't fans of repetition. Having recently relocated to Nashville, songwriter Rick Maguire set out to make a kinetic, high-energy record, partially in response to 2017's more meditative A Hairshirt of Purpose, and boy, did he and his pals deliver. This ferocious and fiery set of tracks tackles everything from the solitary day-to-day, to art-as-occupation, to the general shittiness of one Stephen Miller with a verve only a band of this technical prowess could muster. Hairpin turns and dynamic shifts abound. This record is best experienced fully submitted to, open to wherever the pummeling drums, intertwining thrash-folk guitar lines and guttural bass care to take you. Above all, experience it live, if you can, for one of the tightest, most visceral performances I've ever experienced.

1. Sharon Van Etten, Remind Me Tomorrow

No record following Remind Me Tomorrow, released not even three weeks into 2019, managed to combine diaristic personal detail, powerhouse vocal performances, atmospheric production and songwriting chops as artfully or cohesively as Van Etten. Armed with a new, synth-fueled sound, courtesy of collaborating producer John Congleton, Van Etten crafts tales of near-death experiences, love lost and found, aging and past selves as haunting as they are catchy. And the song "Seventeen," in addition to quite possibly being the best song of the year, will have you mindlessly hitting 95 mph on the highway, white-knuckled and heart racing, as it reaches its final, elated chorus. So hop in that little red car that don't belong to you, turn this record up loud, and click Remind Me Tomorrow on whatever ails you.

Honorable Mentions:

Tyler, The Creator, IGOR
Danny Brown, uknowhatimsayin¿
Diat, Positive Disintegration
Brittany Howard, Jaime
Purple Mountains, S/T
Bruce Springsteen, Western Stars
Grasser, Later, Registration (yeah, I know this is my own band, but it rips)

Guest List: Biff Swenson of Yawn Mower / Grasser / Earth Telephone

Biff Swenson

Top Picks of 2019

By Biff Swenson

[Biff Swenson is a friend of the site and, really, just a great friend. He's also a very busy guy, what with being in (at least) three different very active bands, video production work, some guest drumming gigs, and even acting. In addition, Biff has a very open-minded and diverse taste in music. For all of those reasons, I'm thrilled that Biff took the time to share with us his Top Picks of 2019. You're bound to find something here that you missed out on this year.

As I mentioned, Biff has a full plate of activities ahead including
- A new Yawn Mower EP with Mint 400 Records due in February
- Putting the finishing touches on the debut full-length from Earth Telephone
- Working on the debut full-length from Grasser
- Starring alongside Cat London in the short film Flatlanders, which had its premiere on 12/20 at NYC's Cinema Village. If you missed that, the film is also an official selection at the Philadelphia Film Society with a screening and Q&A scheduled there for 1/9/20.
- Filming another short called Pineville this spring
- Playing drums on upcoming releases for Static Sex and Danya (the project of Allegra Anka of Cayetana)

...whew...

Like I said, Biff is a very busy guy; and we're all lucky he made some year-end time for us.]

Top 10 Albums


Tyler, The Creator, IGOR

Flower Boy is one of my favorite albums, so I was patiently awaiting whatever Tyler was going to release this year. In no way was I prepared for what he delivered. The maturity he's demonstrated over his past two releases is astounding. Clearly, experiences with love lost and romantic desires have elevated the narratives he's been spinning, but the production is what shines even harder throughout this record.The distorted synth bass constantly connecting the entire album is a nice theme to tie this story arc together.

I can't help but get excited for Tyler when thinking about multiple idols of his (Pharrell, Kanye) appearing on the album, being the first rapper / arranger / producer trio to ever hit number one, and lastly being able to openly speak about his sexuality without persecution. This is a very modern and realistic love story in the ups and downs of how someone might be feeling throughout a tumultuous relationship. Tyler does a beautiful job of conveying a wide range of these emotions both lyrically and musically. IGOR has me ecstatic for Tyler's heartbreak, and excited for anything and everything he does next.


Mike Krol, Power Chords

I got to see Krol play 3 times in 3 days at SXSW this year, and it would have been more if at all possible. This album sounded immaculate live. The show was as exciting as the album is to cruise around to. The energy and sound that Mike is able to capture is unmatched. This is everything you love about the first Strokes record with none of the jaded, snarky energy they bring to stage these days. Perfectly crafted pop songs with the fuzzy edge needed to rock. Mike Krol is an enigma that is keeping lo-fi music interesting; and, I assume, single-handedly keeping retro Hagstroms in constant circulation. This is pure, unadulterated fun that you absolutely need to go see live.


Brockhampton, GINGER

BH can do pretty much anything, and I'd be down for it. Here on GINGER, we hear a group of youngsters thrusted further into fame, under the scrutiny of the public eye, coming to grips with a plethora of emotions and decisions. The spiritual tone is apparent but not at all preachy. It's a transparent examination of one's choices through remarkable grooves that are a perfect culmination of influences like Kanye, Dr. Dre, and Pharrell with their own original, modern twist. This feels very genuine and cathartic for all members, so it's a pleasure to be present throughout these dudes' journey, album to album, in real time as they cope with the fame we've given them. Also excited to see which of the more back-seat members eventually branch out into a solo career after the inevitable demise of the limited run any boyband has.


Vampire Weekend, Father of the Bride

Patience certainly paid off here. The album is a little long, but what it has to offer is worth sitting through a few songs that could have waited for a b-sides collection. Ezra has done another fantastic job of exploring new, uncharted territories for VW without losing the vibe that's defined them since day one. It's also very on brand for Ezra's ear being to ground of what's going on in modern music -- the album featuring Kendrick Lamar/Drake collaborator DJ Dahi, Dave Macklovitch from Chromeo, The Internet's Steve Lacy, and most present, Danielle Haim, whose partner produced the album. This festival level act has only further solidified their place in contemporary music.


Steve Lacy, Apollo XXI

Steve has been hiding in the background of The Internet, producing tracks for Kendrick, Kali Uchis, Tyler, The Creator, Goldlink, J Cole, Mac Miller, and Solange. Just in recent years we've heard him finally come to the forefront and build his own unique brand of guitar based R&B. This dude records exclusively on his iPhone and has somehow made it work for today's biggest artists, as well as now for himself as a solo artist. Equal parts Prince and Frank Ocean, but with a lo-fi warble that makes it 100% Lacy. Like Tyler & Brockhampton above, this album does a beautiful job of exploring and expressing one's sexual fluidity while serving up those confessions on truly remarkable instrumentals. Steve is one of a few artists who are the backbone of this new movement in music, so it's about time we finally got a proper full length release from this visionary. While there are some lulls in the album, it's not without bravely bending the framework of what you'd be expecting from an R&B record. Mostly short in length, Lacy's songs show that he’s mastered how to capture extremely enthralling vibes song to song. A well-earned Grammy nod to a promising, young producer & musician.


Kevin Abstract, ARIZONA BABY

The Brockhampton leader has no plans of slowing down, which is more than apparent with his first of two releases this year. Taking no time off from producing content in between tours and releases with his hip-hop centric boyband, we see that he does not need time to rest in order to generate greatness. This album leans even further into the Outkast influence that Kevin doesn't shy away from, while still hitting these interesting new pockets of his brain for a smorgasbord of influences executed flawlessly with the help of his BH production team.

While Kanye's influence was the crux of Brockhampton's formation, it's very clear with this year's Jesus is King release that Kevin + co. have surpassed their idol's greatness as far as 2019 is concerned. It's a refreshing new time in music where genre fluidity defines every important new artist, and Kevin has been leading that crusade since the Saturation trilogy BH blessed us with back in 2017. While Kevin is more than fit for a solo career, the standout track is the one ("Peach") that features his BH bandmates and newcomer Dominic Fike.


Jay Som, Anak Ko

Jay had me hooked with Everybody Works in 2017, but has even further perfected her craft of throwback rock guitar tones and modern indie pop charm. This is everything you'd expect from Polyvinyl records in the best way possible. Som has a delicate voice that'll rock you to your core when these weighted lyrics smack you up across your mouth. It's sounds like a culmination of David Bazan's guitar tones, Real Estate's swaying grooves, and The Polyphonic Spree's bright shimmer. This album will grow on you more with every listen and will surely find its way into this decade's essential listens.


Pedro The Lion, Phoenix

I'm thankful for every track that surfaces with Bazan's name attached to it, but the joy of hearing Pedro The Lion again is uncanny. Phoenix did everything I needed it to for it to be worthy of the former moniker. It feels like he didn't miss a beat from where 2004's Achilles Heel left us off in Pedro's journey. I was made aware of memories I forgot all about throughout this album. It was like catching up with an old friend now that we're both older and wiser. I'm happy Dave is finally getting the well-earned, and long-overdue attention we die-hards have been waiting for.

Phoenix makes mentions of religion in a positive enough light throughout to call this a Pedro album, but it doesn't take the side of religion like you'd come to expect from this project. Rather, it recalls it as a plot-point in life. The hurt and wear on Bazan's voice is still present like any of his solo releases, but the delivery is something familiar and nostalgic worthy of the old band name. Dave on bass helps solidify the line-up of newcomers who accurately give us that old Pedro feel. Guitars are very sparse with a lot of bass counter melodies slipped in tastefully throughout the album. There are also plenty of points that feel minimalistic for these delicate moments, which is always a nice plate to serve some thoughtful lyrics on.


Bon Iver, i,i

Justin Vernon will forever be a mainstay. We will look back at the '00s and '10s knowing full well that Bon Iver is a Top 10er. He has perfectly crafted the art of low-key songs with undoubtedly sad lyrics amid his exploration into electronic elements in recent years. This man is well into his career of making instant classics. He has grown exponentially from album to album, each time adopting new tricks and ear candy to distinguish a change in each album's sonic shifts.

Since working with Kanye back on Dark Twisted, Vernon has adopted an array new soundscapes that he uses to mold his original brand of folk music into an extremely modern take of pop, R&B, and indie rock. I find myself constantly going back to make sense of the noises that make up any one particular section of rhythm. The artwork, the accompanying lyric videos, the quirky production, and all of the guest vocalists -- it's all the ideal bed of blankets to serve up a perfect platter of future music on to an always enthused market. Justin captured our attention with just an acoustic guitar in a cabin, but he certainly made sure to constantly stretch himself in twenty two to a million different ways in order to bring us the soundtracks to our life-defining moments. This man can crush your soul inside of a three-minute composition. Justin is a godsend!


Crumb, Jinx

While in Austin for SXSW, I rushed to see Mike Krol & Tierra Whack perform on the same stage mid-day. What I wasn't prepared for (while boiling in the heat) was the band that played between them. Crumb was mesmerizing! Their grooves were hypnotic. Their presence was felt, but their demeanor was chill. This album perfectly captures that. The percussion demands movement; their bass lines force head swaying; the vocals are sensual and subdued. It feels like The Bird and The Bee meets Real Estate. It has the warbled guitar of  any Mac DeMarco knock-off, but with a wistfulness and casualness that you can't fake. This young band is more than promising, and I can't wait to hear what they deliver next.


Honorable Mentions:

Goldlink, Diaspora

Peaer, A Healthy Earth

Bad Heaven Ltd., Strength

Local Natives, Violet Street

Gus Dapperton, Where Polly People Go to Read


Top 5 EPs of 2019:


Yeek,  IDK Where…

This is my most played artist of the year. I've played this entire EP at least 75 times through. Yeek is doing an amazing job of blending bedroom pop, indie rock, & R&B. Florida has been thriving with a new batch of incredible new voices, and this Jersey-born singer has been at the forefront of that movement. Dominic Fike makes another show-stopping feature on this release as well. IDK is a well-crafted, fully realized culmination of everything he's been building over his past couple full length releases. It's sexy, chill, and vibey, all while having guitar prominently featured throughout. This EP sounds heavily influenced by Tame Impala, but with a more youthful, less complex tone. This is where music is heading, and it's cool to see fresh new faces bring it to fruition.


Still Woozy, Lately

Sven Gamsky is doing the Lord's work with his warped and flowy take on basic pop music. After his band Feed Me Jack split, Sven started recorded solo music under the Still Woozy moniker. The band name alone lets you know exactly what you're getting into. While any one track is poppy enough to blast on any road trip, it also makes you feel high while engaging. He's done a superb job of mixing pop and vibe. It doesn’t seem as mindless as most artists Spotify would push on you in a weekly playlist, rather, it has the accessibility to pump out to the masses. I haven't heard a dud from Sven yet, and I'm not anticipating it anytime soon.


Omar Apollo, Friends

A lot of promising new artists are putting out stand-alone single after stand-alone single, followed by EP after EP. I know a lot of these young artists get lost in the mix when more mainstream mainstays are releasing epic full lengths constantly. In the digital age of music, it's hard to stay up to date with every passing trend or influx of creatives. Don't let that happen here. Omar has perfected a soulful blend of poppy r&b with a really psychedelic shine for the icing. He's charming, energetic, and undeniable. This kid has the goods, so go give him a listen.


Deb Never, House on Wheels

This a very slow moving, depressing release. Everything is soft, emotive, and slacker-ish. It's very straightforward in its approach. Deb isn't reinventing the wheel; but, oddly enough, she still finds a very unique and refreshing voice of her own. I'm awaiting her fully realizing her potential inside of a proper release, but in the meantime, these five tracks are perfect for a rainy day, or some fall foliage down the parkway.




Grasser, Later, Registration

Yes, this is my band.

Yes, I wrote the songs.

No, I won't stop promoting it.





Top 10 Songs of the Year:

Frank Ocean, "DHL"

Yeek, "Too Fast"

Dominic Fike, "Açaí Bowl"

Brockhampton, "SUGAR"

Steve Lacy, "N Side"

Kevin Abstract, "Peach"

Frank Ocean, "In My Room"

Dominic Fike, "Phone Numbers"

Bon Iver, "Hey, Ma"

Tame Impala, "Borderline"

Favorite Songs of 2019

Titus Andronicus at Monty Hall in November

Some of Them Anyway

2019. This was a weird year. After the devastation of 2017 & 2018 around here, I feel like it wasn't until this year that all of that really came home to roost. I spent the year trying to make sure that things like family, home life, exercise, the Yankees, and the Mets received plenty of attention. That meant that things like heading out to shows and, quite frankly, posting at this site took a bit of a hit.

I did spend quite a bit of time listening to music while not posting anything from my little hidey hole this year. I've made a few rough plans about how I'd like to share some of that here to mark the end of the year, decade, whatever. For songs, though, let's just go with a straight list.

Year-end Rock and Roll Hair technically kicked things off list-wise, but I'm calling this our first true, official year-end list of 2019.

In no particular order, here are some songs I really liked.

Dentist, "Someone Like You"

Dentist. They've been with us here from almost the beginning; and, with each release, the band refine the sound that made me fall in love with them in the first place. "Someone Like You" finds the band leaning into their dreamier side, and lyrics like "I've got it all figured out with no clarity" sum up Dentist's trademark push and pull between light and dark, sweetness and sadness. Like another of Asbury Park's best bands, Dentist tend to pepper their summery, upbeat sounds with a hint of anxiety.



Titus Andronicus, "Just Like Ringing a Bell"

Titus Andronicus truly have been with us here since the beginning, the very first post.

On the Bob Mould-produced An Obelisk, Patrick Stickles takes on his younger alter-ego, Troubleman. Troubleman sees the world in black and white; and while Stickles shares Troubleman's ideals, experience has taught the older Stickles to see subtleties and to recognize the compromises that come at the intersection of art and commerce. "Just Like Ringing a Bell" contains a few lines that should resonate with anyone who sees themselves as an observer of or a participant in the changes taking place in our little City by the Sea: "They're taking credit that they're not earning. Any good thing they ever sold they stole!" and "But I in no way blame myself, even though I helped those bastards to sell that inferior version we love so well."



Lowlight, "Coastlines"

Coming just after the halfway point on Lowlight's excellent Endless Bummer, "Coastlines" -- along with its companion "Clotheslines" -- could be thought of as that album's centerpiece. The members of Lowlight are, in fact, observers of and participants in the changes currently underway in Asbury Park; and, in an interview about the song, Renee Maskin said, "We set out to write songs that juxtapose carefree summertime vibes with the undercurrent of anxiety of the people we know. We feel that 'Coastlines' most successfully embodies this particular effort." See what I was saying about Asbury Park's best bands?

The song also serves as a heart- and fist-pumping moment on both the record and during any Lowlight live set.



Control Top, "Straight Jackets"

I'd been listening to Control Top's furious and cathartic Covert Contracts since it came out earlier in 2019, and I became a full convert to the band when I spent two nights watching them open for Titus Andronicus this past November. "Straight Jackets" combines singer / bassist Ali Carter's seething rage with guitarist Al Creedon's somewhere-between-shoegaze-and-hardcore guitar squall. When Carter spits out, "So sick and worked up gonna explode!" you have the same sensation in your own guts.



Mike Krol, "What's The Rhythm"

Mike Krol's Power Chords is a snotty, distorted, powergaragepop masterpiece. I could have chosen just about any song off the record for this list, but I decided to go with "What's the Rhythm." It's crunchy and loud. Over the course of its relatively short run-time, "What's the Rhythm" manages to build tension before it pays off in an earworm of a chorus that makes you want to throw your arms in the air and bounce along. Multiple times. And, then, it's just gone.



A Giant Dog, "Intervention (Arcade Fire Cover)"

On its face, the idea that A Giant Dog would release a full-album cover of Arcade Fire's Neon Bible is pretty weird. It just seemed incongruous, to me anyway, that the wild, sweaty glam rock band would take on bombastic indie rock royalty. But, as soon as I dug into the record, I was amazed at the perfection of the match. It's a testament to the power of performance that Sabrina Ellis, Andrew Cashen, and the rest of the band are able to make these iconic songs their own. The anthemic "Intervention" -- my favorite song from my favorite Arcade Fire album -- illustrates this.

In a press release, Sabrina Ellis said, "Recording a cover album, we felt like actors in a movie." "Intervention" could serve as the clip during the band's introduction at the Academy Awards ceremony.



Sharon Van Etten, "Seventeen"

Sharon Van Etten adopts some 80s sounds on her latest album, Remind Me Tomorrow. I was 17 in 1987. I would regularly head up to New York City with my friends, and it was just a year before I'd spend my college years there. Maybe those are some of the reasons this song hits me so hard. As I listen to the brilliant "Seventeen" and watch the video, I think about the ways the City shaped me during my young adulthood, and I also cringe at some of my youthful idiocy. Like Patrick Stickles on An Obelisk, Sharon Van Etten looks at her younger self through the eyes of the person she's become and wishes she could offer some wisdom.



Sacred Paws, "Brush Your Hair"

I'm not gonna get too deep here. I just love this song. Like the rest of Run Around the Sun, "Brush Your Hair" is fun and full of life. It brings rhythm and vocals that remind me a bit of CoolMom all-time fave, Bow Wow Wow. Sacred Paws brought all of that fun and energy to their live set at Merge's 30th anniversary festival and bounced their way onto this list.



Vampire Weekend, "This Life"

I've loved Vampire Weekend since their debut record. CoolDaughter 1 loves them, too; and they're really one of the only things we bond over musically. Sonically, "This Life" brings hints of Johnny Marr and Van Morrison to the table. Thematically, it stays pretty close to the overall vibe of Father of the Bride by placing our little, human interactions into the context of the wider world.



Weyes Blood, "Everyday"

On Titanic Rising, Weyes Blood (aka Natalie Mering) addresses millennial angst through sounds reminiscent of 70s, adult contemporary, soft rock. There are moments like "A Lot's Gonna Change" or "Movies" that bend that idea in much more experimental directions; but "Everyday" is (mostly) straight-up, accessible pop. It's a 20th century AM radio hit that deals with the 21st century issue of finding love via swiping through profiles on your handheld computer.



I think I'll stop there. That's 10, right? This list is pretty off the top of my head and arbitrary and could include a lot more. You can go check out the CoolDad's Favorite Songs of 2019 (So Far) playlist on Spotify if you'd like to see what else -- and what other songs from some of these artists -- caught my attention this year.

Hopefully, I'll have some contributions to share with you soon; and I'm still trying to work out how to deal with an albums list.

Henry's 2018 Recap

2018: A Few Of My Favorite Things

By Henry Lipput

When I started to write this 2018 thing, I went through the computer files with my reviews for CoolDad.It was then that I realized that this would be my fifth year-end roundup for Cool Dad. I've been reviewing music here since 2014. I knew it was a while, but it didn't sink in until now. So thanks CoolDad for letting me write about the music I love for this long.

And here's what I've loved in 2018. There are 11 albums, a single, an EP, and a reissue as well as some other releases I also liked and you might want to check out.

I've been very fortunate to get downloads and Soundcloud links to review new releases. This year, when I have really liked an album or single or EP I have bought vinyl and CDs where I had downloads and downloads where I had Soundcloud links.

If you like what I've written about here and listened to the tracks on the included Spotify list, I encourage you to buy some music from these artists. None of these people are superstars (I was going to call this list "A Grammy-Free Zone," but you get the ide.) and don't make much, if any, money from streaming.



ALBUMS

HI LO, Super 8

Super 8, aka Paul Ryan, pulled off a musical hat trick this year by releasing three albums. Any of them (T-T-T-Technicolour Melodies from January, TURN AROUND OR… from June, and HI LO in October) could have topped my list, but I'm choosing HI LO as my favorite. HI LO is a splendid mix of music, moods, and sounds. It also has some of the best lyrics and arrangements (Listen to "Angels & Neil Diamond" and "Drive You Home" for starters) of his three albums. He also wrote and recorded "If Cats Had Hands" (with its wonderful video) and a Christmas song after HI LO was released. As far as I'm concerned Super 8's HI LO is the album of the year. (Futureman Records)

Peaks and Valleys, Chris Richards and the Subtractions

Richards, along with Andy Reed and Keith Klingensmith, make up the power pop trio, The Legal Matters. Richards has been recording with the powerhouse rhythm section of The Subtractions (Todd Holmes on bass and Larry Grodsky on drums and percussion) well before TLM came around. On Peaks And Valleys, Richards brought on Reed for additional guitar and harmonies to create another power pop treasure that includes a brilliant full-band cover of Big Star's "Thirteen." (Futureman Records)

Sincerely, S. Love x, Simon Love

This album is a wonderful pop-fest with a liberal dose of swear words. One of my favorites songs from 2018 is "I Fucking Love You" which begins like a Boo Radleys pop tune from their Wake Up! album, and then slowly morphs into something from Spiritualized. On the flip side of this sentiment is the musical kiss-off and full-throttle rocker that is "Not If I See You First," and the lost love song "Tennis Fan" uses sports analogies to describe a relationship. (Tapete Records)

Kill The Lights, Tony Molina

Kill The Lights has ten songs that all together clock in at a little less than 15 minutes. It's like a meal made up of appetizers, but it's still filling. It may just be my impression that it's a post-breakup album with some glimmers of hope along the way. But it is a guitar-centric album with some very cool riffs that will remind you of The Byrds ("Give He Take You" and "Nothing I Can Say"), Teenage Fanclub ("Jasper's Theme"), and what sounds like a John Lennon song performed by Elliott Smith ("Now That She's Gone"). (Slumberland Records)

Didn't Mean To Care, Susie Blue

The debut album from Northern Irish singer / songwriter, Susie Blue, is a collection of songs that tell the story of her teenage years after coming out. Susie has put together a terrific band of musicians for this album; but, for me, it's really the two, stark, solo acoustic ballads, "Trust Me" and "Till You Started," that really stand out. There's something that Susie does with a lyric that shows her debt to the late, great Dolores O'Riordan and the sound of these songs recalls PJ Harvey's demos.
(Didn't Mean To Care is available as a digital download).

Proto Retro, Dot Dash

Dot Dash is another guitar, bass, and drums trio with a stellar rhythm section comprised in Dot Dash of Hunter Bennett and Danny Ingram. Terry Banks provides lead vocals, terrific lead and rhythm guitars, and also wrote the songs. The album starts with "Unfair Weather," a dig at folks who adopt British lingo ("don't call it a jumper / you know it's a sweater"). It's also a power pop number that rocks as is "Fast Parade." "Gray Blue Green" is another jangle fest, and "Triple Rainbow" is a gorgeous song of love and support. (The Beautiful Music)

Young Scum, Young Scum

Someone I follow on Twitter mentioned this band, and I initially thought they probably were some kind of Sex Pistols wannabes (not that there's anything wrong with that). Instead, Young Scum is a Smiths-loving group from Richmond, Virginia, with jangle to spare. Their lyrics, about hating your job ("Crying At Work") or not knowing what to say to someone you like ("Hard"), are relevant to almost anyone at any age. (Pretty Olivia Records)

Davey Woodward and the Winter Orphans, Davey Woodward and the Winter Orphans

Woodward is a musical mimic who can sing like Lou Reed and Bob Dylan and also write songs that they might have written. His album with the Winter Orphans, a group he put together to record this album in a weekend, has songs that recall VU-era Reed ("Girl In The Hoops") and mid-Sixties Dylan ("Tangerine Dream"). There's also a mashup of the two in "Dylan's Poster" as well as songs in Woodward's own, distinctive voice ("Horrors Cope" and "Trouble In My Times"). (Tapete Records)

Black Box Theory, Gretchen's Wheel

Lindsay Murray is Gretchen's Wheel. On past albums she's brought onboard musicians from The Posies, The Legal Matters, and Nada Surf to help with the recordings. But after her completely solo EP, awry, she felt confident enough to handle everything herself (except for Nick Bertling on drums). Like awry, Black Box Theory uses lower-case letters for song titles which adds to the poetic nature of Murray's lyrics. For example, the melancholy "tourist" could be about the end of a vacation or the end of a relationship or both. (Futureman Records)

LLC, Deal Casino

LLC is Deal Casino's second album in two years. As drummer Chris Donofrio told CoolDad in an interview, the band had stopped "belaboring the pre-recording process," and the result is a fresh and inventive collection of songs. "Color TV" originally showed up as an untitled, acoustic, 4-track demo on the band's Calidus EP from 2017, and it gets a makeover on LLC. The band's adventures in the studio are highlighted by "Chocolate Cake," which ends with an explosion of sound that's somewhere between "Tomorrow Never Knows" and "A Day In The Life." (LLC is available as a digital download).

Construction Time & Demolition, Wreckless Eric

This album is a master class on how rock songs should sound. Eric has been around since the mid-Seventies and was part of Stiff Records' Live Stiffs tour. Many of the songs on Construction Time & Demolition are about time as well as places that don't exist anymore. "Gateway To Europe" borrows sounds from The Kinks' Preservation albums, and "The World Revolved Around Me" recalls Big Star's Third. "Wow & Flutter," one of the album's highlights. has crunching guitars, crashing drums, and a Entwistle-like bass. (Southern Domestic Records)

SINGLE

"Nothing In Your Way," The Magic Es

The Magic Es have released five singles since 2017's It Goes On (my favorite album for that year), and three of them came out in 2018. Of those, my favorite is "Nothing In Your Way" which highlights the band's great sense of dynamics. There's also a terrific video you can check out on YouTube.("Nothing In Your Way" is available as a digital download).

EP

Modern Man, Andy Cook

Modern Man is the Minnesota-based Cook's follow-up to 2017's In Space EP. The songs on Modern Man have been influenced by a genre like 60s surf, 80s pop, or contemporary indie rock. "Swirl," is an indie-pop gem with an earwig of a melody. "Red Lights" has more than a little jangle in the mix and some nice synth flourishes. One of my favorites is Places We'll Go," a lovely, countrified acoustic ballad. (Good Eye Records)

REISSUE

Girly Sound to Guyville, Liz Phair

This is the 25th anniversary release of Phair's landmark and still awesome Exile In Guyville. The original album is given a crisp re-mastering and sounds better than ever. But the best thing about this set is the two CDs that collect the three cassettes that Phair recorded and gave to friends in the early Nineties. It's great to hear early versions of songs like "Bomb" that showed up as "Stratford-On-Guy" on Guyville and "Money" which turned into "Shitloads of Money" on her fantastic whitechocolatespaceegg. (Matador Records)

ALSO ENJOYED

I've also enjoyed albums by Lisa Mychols (Sugar) and Paul McCartney (Egypt Station); singles by Fallon Cush ("Dream House"), Stars ("One Day Left"), Callow Youth ("Rough"), and the cover of "You Can Hide Your Love Forever" by The Fortuna POP! All-Stars (which included Simon Love); EPs from The Nature Strip (Past Pacific) and The Hannah Barberas (there were three plus a Christmas release); Altered Sweet, the Futureman Records tribute to Matthew Sweet; and the Captured Tracks 25th anniversary vinyl-only reissue of Martin Newell's still amazing The Greatest Living Englishman produced by Andy Partridge.

Rosi's 2018, Part I

Screaming Females at Warsaw by Rose Lamela

Photography, Music, CoolDad, and 2018

Words and pictures by Rose Lamela

[I've said it before, but Rosi has become a very important voice here at CoolDad Music in 2018. She approaches every show with the enthusiasm of a true music lover, and I'm not lying when I say that there have been times that her enthusiasm has been the thing that's pushed me to keep going here. She's covered shows for me when I couldn't make it myself. She's suggested shows for coverage that I never would have thought of on my own. She's shot some great videos that I still have to share with you. Most importantly, Rosi has become a true friend and someone I can geek out with over music and photography. This is the first of a few posts from her to close out 2018. I look forward to more contributions from Rosi in 2019, including CoolDad Music's first year of multi-person coverage of SXSW in March. -- CoolDad] 

2018 has been a great year, and my love for music was enhanced in ways that have surpassed my tendency of being the biggest music snob among friends. At the end of 2017, I was at a crossroads. Because of a News Year's resolution, I found an outlet for something that was boiling inside. The dreary end of 2017 was the true push to find something that would get me through the doors of venues with my camera and an opportunity I could never imagine.

I started the year by going into local venues not knowing if I would be denied access to shows with my gear. I researched as much as I could to find photo policies which was not easy. I managed to find some and give music photography a try. I was full of doubt on whether I would be able to pull off getting usable photos while pushing through a crowd and battling with tricky light situations.

I looked up several local music blogs and wondered whether anyone would answer to my desire to be part of one. I got an answer from a local blog that changed my experience as a photographer. I would of never know I would make a new friend who was not only a geek about cameras like me, but someone I wouldn't bore to death when talking about music. I shared a few photos from past shows, but didn't really get a response except that this new friend could get me press passes sometimes.

So I never told Jim, AKA CoolDad, this part of the story. I became a fan of CoolDadMusic overnight. I followed Jim's taste in music, read multiple posts, and listened to many Spotify playlists. I knew the only way I was going to get passes and get my photos up was that I had to listen to what he listens to, and know which of those bands are playing here in North Jersey. The part I never considered was that I would find some new stuff I would also dig.

Long Neck were featured on the blog and were also playing at WFMU's Monty Hall in Jersey City. I reached out again and asked about the show. Jim didn't know if he could make it, so I made sure I did. It actually was a challenge to go, but that's a whole other story. The challenge was absolutely worth it. I shot some photos, and in two days they were up. It was something I thought would take months, and it was only January. After that, I covered over 25 shows.

Long Neck at Monty Hall from back in January

I am a photographer with a secret desire to write. I was always a little shy about the writing part. I would give Jim photos with no words. I had words, but I kept them to myself. One day I was asked to write and I freaked out. I was not going to do that. I go to shows quietly. I had a good friend dare me to do it. Before I knew it, I had words up on the site.

I went to music festivals, got a music pass to SXSW 2019, covered bands I love, fell in love with new bands, covered 18 bands in one night with Jim, covered a show in Manhattan alongside 4 other female photographers, walked through the streets of Brooklyn, got awesome ear plugs, gained confidence as a photographer, invested in pants with lots of pockets, got on guest lists, had great conversations with people in the audience, got to write about Smashing Pumpkins, avoided mosh pits, drank cucumber water at hipster bars, saw Screaming Females 6 times, got a CoolDadMusic t-shirt and baseball cap, got an Instagram account, and loved every minute of it.

Ought at Market Hotel for Northside Festival

2018 has also been the year of watching an amazing indie scene I was never aware of. So many bands are out there and the number of female musicians is very inspiring as well. The talent is overwhelming; and, without the opportunity I was given this year, I would never have known of the emerging scene in Jersey City. I also knew that Asbury once was a place for music, but the scene now is refreshing. It's nice to see The Stone Pony and The Saint still around, but all the new venues that have popped up have filled the once vacant atmosphere into one of beats and fist pumps.

Will Wood and The Tapeworms at White Eagle Hall's first anniversary show in Jersey City.

This year has also made me super proud of being from New Jersey and to call myself a music photographer that gets to cover its music scene. The gear was once heavy but has become part of my outfit. It's also nice to have someone with a dream help you with yours. So this is a year that I am grateful for local music scenes, blogs, and the passion of other music lovers. Without that, I would never be here.


New Brunswick's Glazer at The North Jersey Indie Rock Festival at White Eagle Hall

2019 has some real serious competition. I have a feeling when I step foot on the grounds of Austin, it will feel like a continuation of a a rather amazing step into a mutual relationship between the music and the ones that cover it.

Top Minivan Songs of 2018

CoolVan

Five By Five

The cooldaughters are growing up. They're becoming their own people. They don't care to hear my music. Or my voice. They wear headphones in the coolvan.

And that's when we're even in the coolvan together. CoolDaughter #2 is no longer in a carpool, having switched to another swim team; and CoolMom handles about half of that driving. I only end up driving CoolDaughter #1 two evenings per week now. During those rides, it's been my music forced upon her and her befuddled teammates if we have any music at all.

I struggled a bit with how I was going to put together this year's list of Minivan Songs; but, then, I had an idea. I asked each cooldaughter to submit a list of five songs -- five of the things that they are mysteriously pumping into their brains via their headphones while they're ignoring me. It ended up being pretty interesting to see not only how their tastes are evolving but also how they're evolving differently. Here we go.

CoolDaughter #1

Of my two daughters, CoolDaughter #1 seems to have the more conventional taste in music. She submitted some very big songs for this year's list. But she also surprised me with a couple of what could be counted as "oldies" here in 2018.

"thank u, next" -- Ariana Grande

In less than 10 days, the video for this song has amassed 137 million views on YouTube. It features some funny references to Grande's real life (Troye Sivan says, "I heard she's a lesbian now and dating some chick called Aubrey," in reference to a commonly misheard lyric about self-love in the song) as well as spot-on re-creations of scenes (including cameos) from several films -- Mean Girls, Bring It On, 13 Going On 30, and Legally Blonde. CoolDaughter #1 loves all of these movies.

It's a high-budget, well-executed clip for a song I find kind of meh. I guess what I mean is: It's a fine pop hit -- the "thank u, next (next)" in the chorus does get stuck in your head -- but I don't get why it's such a phenomenon. Oh, well. I'm old.



"Psycho" -- Post Malone ft. Ty Dolla $ign

Speaking of old, here's how old I am. I was only vaguely familiar with the idea that there was an act out there called Post Malone. Until CoolDaughter #1 submitted her list, I wasn't sure if Post Malone referred to a person or a band.

Anyway, "Psycho" has half a billion views on YouTube. It's from Post Malone's sophomore album, beerbongs & bentleys; and it features Malone and Ty Dolla $ign rapping about the trappings of success like Lambos, Ferraris, and jewelry. In the video, Post Malone is driving around in a tank and killing post-apocalyptic, animatronic wolves with a flamethrower, which is pretty badass.

The other fact I know about this song is that CoolMom will not let CoolDaughter #1 play it while she is driving because the siren sounds in the song confuse and frighten her when she is behind the wheel.



"broken" -- lovelytheband

I love CoolDaughter #1, and I respect what she likes. She is a thoughtful, brilliant, strong young woman. She enjoys this song, simply, for the well-crafted pop song that it is. I don't mean this to be any kind of a knock on her, but...

...to meeee...

This is one of those "alternative rock" or "indie pop" songs that cracks the Top 40 and crosses over to SirusXM Alt Nation and SiriusXM Coffee House and maybe even SiriusXMU. It is one of those bland, lowest common denominator, mono-genre songs like those produced by Imagine Dragons or Echosmith or something. It's big -- real big -- with about 15 million views on YouTube, but not as big as those other songs; so it retains some "cool factor" and alt / indie cred. It feels manufactured, focus group tested.

lovelytheband played the New Asbury Lanes a few months ago.



"Happier" -- Marshmello ft. Bastille

Philly DJ and producer, Marshmello, did this one with Bastille. If I had been doing Minvan Songs lists back when Bastille's "Pompeii" came out, that song would have made the list without a doubt.

This video, featuring Miranda Cosgrove and a beautiful golden retriever, legit made me cry. That's all.



"Stacy's Mom" -- Fountains Of Wayne / "1985" -- Bowling For Soup

Years and years ago, when CoolMom and I first moved back to Jersey, my brother won tickets from whatever incarnation of 106.3FM was happening at the time to see Fountains Of Wayne and John Eddie. I think the show was at Naval Weapons Station Earle, if that's possible. Anyway, he gave the tickets to me; and CoolMom and I had a fun, little, outdoor evening with Fountains Of Wayne.

It kind of surprised me when CoolDaughter #1 included both of these aughties power pop hits on her list. I shouldn't have been surprised, though, as she clearly likes a good hook and a sing-alongable chorus. Both of these songs have those in spades. There's a striking similarity between these songs and their videos (which is why I'm making this a two-fer). I did have to go back and make sure she meant the original, Cars-inspired, Fountains Of Wayne version of "Stacy's Mom" and not the very popular Bowling For Soup cover. She went with the Jersey Fresh version.





CoolDaughter #2

A few months ago, CoolDaughter #2 told me that she enjoyed theatrical, baroque pop and emo-type stuff. I'd see her walking around the house with her wireless headphones on mouthing the words to "Welcome to the Black Parade" (my kids do like their NJ music, I guess). That taste for theatrical pop seems to have evolved into a taste for musical theater.

"Roaring 20s" / "Golden Days" -- Panic! At The Disco

Earlier this year, Panic! At The Disco announced a surprise, pop-up Pray For The Wicked preview set at the Stone Pony. By the time I'd heard about it, it was really too late to hope to get into the show. I mentioned it to CoolDaughter #2 later in the afternoon, and the stricken look that came across her face when I told her we weren't going made me realize how badly I'd messed up. I bought floor seats for her, CoolCousin, and CoolMom for the band's show at Prudential Center next month.

Anyway, she submitted two songs from Panic! At The Disco for this list. Brendon Urie definitely brings a flair for the dramatic to his performance, and it doesn't surprise me that a budding musical theater kid would be drawn to these. I can only imagine what level of production value will go into this live show. And, I'm not going; so imagining is all I'll be doing.

"Golden Days" comes from the band's 2016 album, the platinum-selling Death of a Bachelor; while "Roaring 20s" is off of this year's Pray for the Wicked.





"The World Will Know" / "Watch What Happens"-- Newsies (Original Broadway Cast Recording)

CoolDaughter #2 loves this musical. I know she's seen it at least once at the Axelrod in Deal. She's watched the movie with CoolMom, and I think they've watched some performance on YouTube, too. She plays the cast recording in the car on the way to and from swim meets (with CoolMom).

These songs are my first exposure to this show. "The World Will Know" comes as main character, Jack Kelly, launches a protest against the exploitation of the "newsies" by publishing robber barons Hearst and Pulitzer. "Watch What Happens" is cool as it's sung from the point of view of a female reporter covering the protest and trying to make it in the face of 19th century attitudes towards women.

Fighting for the little guy / gal. New York. Unions. Sounds like my kinda thing. My only disappointment is that she didn't pick "Brooklyn's Here" which features the Brooklyn newsies coming to the aid of Jack and his crew. People from Brooklyn are so badass.





"D.O.A." -- The Lighting Thief Original Cast Recording

CoolDaughter #2's other passion is the work of author Rick Riordan. Riordan writes children's fantasy novels based around Greco-Roman, Egyptian, and Norse mythology. His most famous series is Percy Jackon and the Olympians of which The Lightning Thief is Book 1. But you knew all of that.

In what has to be the coolest development ever for CoolDaughter #2, there is now a musical based on The Lightning Thief. She and CoolMom will be seeing a touring production early next year. This is another soundtrack she plays in the van all the time, apparently.



Me, and a Poll: "Spirit FM" -- Bad Moves vs "Who's Got Time?" -- Flasher

I recently put these two songs to a vote in the coolvan among CoolDaughter #1, CoolDaughter #2, and CoolMom as to which should be the Song of 2018 on the CoolDad Music Year-End Favorite Songs List. As is the nature of these things with me, I'm not sure now if either will be number 1; but both will definitely be highly-ranked. Bad Moves' Tell No One and Flasher's Constant Image will both make the albums list for sure.

The female members of the CoolFamily come down unanimously on the side of "Spirit FM." If you had to pick one of these, which would it be?