The Sounds Delightful Mixtape brings together eclectic pop spanning genres and eras. And July’s mix is about as eclectic as it gets. Hear the summer’s best new hit, plenty of British indie, some ’90s noise, a little power pop, and more than a little ’80s schmaltz. It’s all tied together by great hooks and melodies.
Portugal. The Man — “Feel It Still” (2017)
This is one of those songs that you hear on the radio and after 15 seconds you’re like “what is THIS??” Just instantly hooky and memorable. “Feel It Still” has already hit number on the Alternative and Adult Alternative charts and debuted at number 89 on the Hot 100 this week. It deserves to be the kind of huge pop crossover that even old people know, a la Pharrell’s “Happy.” But even if it doesn’t get that far, it bolsters my faith in music to know that a song with guitars and horns and soulful vocals can still be at least a minor hit.
Lemonheads — “Different Drum” (1990)
“Different Drum” is a pop classic and endlessly coverable. I discovered The Lemonheads’ version only recently, and it inspired a whole blog post on the topic. This version juxtaposes the song’s catchy melody and quirky lyrics with some early ’90s-style guitar feedback. I also love how Evan Dando sings the lyrics without swapping the genders from the female-sung Stone Poneys’ version.
The Kooks — “Be Who You Are” (2017)
I feel like I rarely see great reviews for The Kooks — they’re always accused of shameless ‘60s throwbackism. But I’m a sucker for that sound, and while I’ve never listened to them as a fan, I do tend to like the songs I hear. “Be Who You Are” is a new single released as part of their new best of comp. It’s got some nice singalong “da da das” at the beginning, a strong chorus, and a compelling middle eight that slows things down a bit.
Danny Wilson — “Mary’s Prayer” (1987)
“Mary’s Prayer” sounds like its going to be kind of terrible at first, like “Walking in Memphis” or something. But then the chorus comes in and it just transcends. It’s everything a great chorus should be: a simple two-note hook that you will remember after just one listen and a fullness on the harmonies that seems to escalate the song to a new level of emotion. The lyrics are a bit of a mishmash of romantic and religious imagery, and I’m not actually sure if this song is happy or sad — but it’s hard to deny it has a kind of exuberance that’s irresistible.
Elaine Page and Barbara Dickson — “I Know Him So Well” (1984)
This song is from the original soundtrack to Chess, a concept album/musical from the ’80s with songs by Benny and Bjorn from Abba and lyrics by Tim Rice. It’s about a chess match between a Russian and an American, and I believe the two ladies who sing this duet are both in love with one of the guys. It’s a little hard to follow from just the album. But it doesn’t change the fact that this song is a fabulous ballad. It’s rare that you hear a duet between two women, and Page and Dickson ace it, both belting out their parts and weaving their backing vocals beautifully around the main melody.
Eliza Doolittle — “Pack Up” (2010)
A gimmick that works. “Pack Up” mixes some Lily Allen-style British sass with a pre-rock’n’roll pastiche of blues, soul, jazz, and/or show tunes. At least I think so. I’m not an expert on any of those styles, but it sounds like this song is just sort of throwing together a bunch of vintage sounds with the goal of sounding generally old-timey. The result is cheerful and upbeat pop that stands out.
Liam Gallagher — “Wall of Glass” (2017)
Not writing his own songs might be the best thing that Liam Gallagher has ever done. It worked with Oasis, and Liam’s new single gives some indication that it might work again as he teams up with songwriting pro Greg Kurstin. “Wall of Glass” manages to balance a slightly more commercial approach with the Liam’s classic snarl and brashness. I was pleasantly surprised.
Kylie Minogue — “Hand on Your Heart” (1989)
I’ve been getting into Kylie a bit lately. She’s got a lot of distinct phases in her career, and she seems to be surprisingly well-regarded critically for a the type of pop star she is. “Hand on Your Heart” is from her third album. At this point, she was being produced by a British hit factory called Stock, Aitken, and Waterman (aka SAW), known for churning out dozens of hits in the late ’80s and early ‘90s despite the obvious cheapness of their sound. “Hand on Your Heart” is a good example of how melody and delivery can help a song rise above it’s limitations.
Neon Waltz — “Heavy Heartless” (2017)
Neon Waltz is a young Scottish band who have had a string of strong singles. They have a knack for Noel Gallagher-ish poignant melodies and have actually opened for Noel — a pretty solid endorsement. “Heavy Heartless” is their latest and will be featured on their debut LP, out later this summer. With its depressive lyrics and dirge-like pace, it’s a good wallowing song should you need it.
Circa Waves — “Stuck” (2017)
“Stuck” is an angsty, energetic rocker from Liverpool-based Circa Waves. This is a song about stagnation and frustration, and impassioned vocals convey those feelings in a visceral way. The word choices here are also perfect for showcasing the band’s Northern accents (“stook,” “loove,” etc.), which adds a certain charm.
The Magic Gang — “Your Love” (2017)
The Magic Gang continues their streak of highly enjoyable singles. “Your Love” has a bit of a swing to it, as well as a tiny twang on the guitar that makes them feel a little less aggressively British than many of their peers. The chorus here has a singalong feel, a sound that’s quickly becoming a trademark for the band. I’ll be curious to see if they can sustain their success on a full-length album, but there doesn’t appear to be any definite news of one yet.
Simon and Garfunkel — “At the Zoo” (1967)
Whenever I’m just randomly strolling around a city taking in the sights, I always think of myself as on a “fine and fancy ramble,” even if I’m not going to the zoo. I love the juxtaposition of the urban and natural environments in this song, as well as the crazy characterizations of all the animals. “At the Zoo” is a perfect mix of melody, imagery, and whimsy.
The Hangabouts — “Evelyn Wood” (2017)
The truest power pop song on this month’s mix, “Evelyn Wood” definitely owes a lot to Fountains of Wayne with it’s slightly gravely vocals and 70s AM-inspired sounds, particularly on the guitar solo in the middle eight. The lyrics include plenty of idiosyncratic details and quite cleverly can be either metaphorical or about actual speeding in a car. I particularly like the line, “You swore you’re slowing down/Then I saw you on the cover of Motor Trend.”
Kirsty MacColl — “You Caught Me Out” (1979)
Kirsty MacColl’s back catalog is a treasure trove. I’m always stumbling upon songs of hers that I haven’t really given proper attention to before. “You Caught Me Out” probably escaped my notice because it’s the last track on her Stiff Years compilation. This is Kirsty in pure pop mode, but the song unfortunately lost out on any chance of becoming a hit as she left Stiff Records shortly after it was recorded. It’s got a shimmering chorus, some ooh-ooh-oohs, and a rockin’ backing track courtesy of some Stiff regulars.