popwreckoning

Welcome back, readers!  I’ve been meaning to do the inevitable Rolling Stones-esque post for a while now and my reasons were threefold: 1) They’re only one of the best fucking bands on the planet (still) .. 2) The Rolling Stones are about as relevant to me now as a child growing up on classic rock .. and 3) It is safe to say that “Wild Horses” is the earliest song I can remember absolutely falling in love with the instant I heard it.  It is quite possibly one of the most beautiful songs I have ever heard and if I ever became a musician, I would probably cite “Wild Horses” as the defining moment when I decided to pick up a guitar. 

Suffice it to say, the Stones got me into rock n’ roll and it’s been a lifelong love affair ever since.  The quintessential “sad love song,” it’s a little bit country, it’s a little bit rock n’ roll, but it’s all kinds of incredible and the lyrics are as poetic as they are universally relatable.  I’ve been known to tell people my favorite Stones song is “Beast of Burden” because I listen to it more, but truth be told it really is “Wild Horses.”  Mick Jagger poignantly suggests “Let’s do some living, after we die” in the last verse.  I’m down for that… as long as that includes listening to this song.  And the Stones.  Forever.  There are about a zillion covers of this song, so I figured I would do a little Top 5 list of my personal favorites.  But first the song that started it all, the original Rolling Stones version:

.The Rolling Stones – “Wild Horses”
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#5 – Garbage [live] cover
I’ve said it before and I’ll say it again, Garbage is one the most underrated bands ever.  Shirley Manson‘s raspy vocals are in a class of her own and her backup band are capable of some serious instrumentation.  I actually don’t know where this one was played or even when, but performing such an unlikely country-fied live cover of this song only adds to their coolness factor.  In fact, I would never expect to hear such bluesy guitar work from Garbage if they weren’t doing a cover; it almost kind of suits them, and in a way I can’t help but wonder about the possibilities if they decided to widen their musical range.  Manson’s monotonous vocal delivery may annoy some people and it may be hard to believe her undying love when she sings “No sweeping exits or offstage lines / Could make me feel bitter or treat you unkind.” I actually dig her delivery; she may sound like she couldt care less, but I like to think she’s gone numb for feeling so much in spite of everything that has transpired.  To be fair, I may just enjoy this cover due to my love of Garbage and not so much because it’s highly inventive or adds something more to the original, but at least I’m being honest.
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#4 – Elvis Costello with Lucinda Williams [live] cover
I’m such a fan of the artist testimonial, so it’s neat hearing how much other equally incredibly performers love this song, as well.  Again, to be fair, I love Elvis Costello and I may be guilty of nepotism for featuring him here but that’s allowed when it’s your own Top 5 list.  Enlisting the help of Lucinda Williams, these two put out an uber-country tinged duet with lingering backing guitars that seem to croon and moan as much as they do.  This one doesn’t shine like the original, but that’s okay since this is merely in homage to such an untouchable classic rock gem.  And to my knowledge, this is the only duet I’ve ever stumbled upon.  With twangy guitars, soft piano licks, and a seemingly slower pace, this rendition almost lulls the listener’s heart to a more peaceful albeit painful place.
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#3 – Jewel [live] cover
Do they even have wild horses in Alaska?  I was actually researching the inevitable Tori Amos cover and shockingly found nothing, but I did stumble upon Jewel‘s surprisingly awesome piano rendition. I felt I also had to feature this since she prefaces her song saying “This is possibly one of the first songs I fell in love with,” just like me!  Having never particularly been the hugest Jewel fan, I figured she would yodel all over this song especially during the “wild horses couldn’t drag me awaaaaaaay” in the chorus, but thankfully she contained herself.  Instead, she allowed her struggling voice to strain and crack which I found much more appealing.  Not only does it represent the painfully sad nature of the song, but it almost sounds much more natural and raw, all of which enhances this performance.  In a way, it almost sounds like she smoked a pack of cigarettes pre-song which adds a sexy, huskier texture husky to her voice I’ve never heard before.  Wow, this may be the first time I’ve ever promoted cigarette smoking.
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#2 – Iron & Wine with Calexico [live] cover
This one is smooth like a fine wine and the pairing of Iron & Wine‘s (aka, Samuel Beam) folk rock sensibility with the dusty southwestern rock styling of Calexico makes for some gorgeous music, on or off the trail.  If a truly unique mash-up between two indie rock  outfits weren’t mind-blowing as is, wait ’til you hear this one.  It’s folky, jazzy southwestern rock, pseudo-country, mellow, soft, melodic, lush, it’s just a really rendition that I like to leave on in the background when I’m laying around doing nothing.  There is so much going on in this version that’s it’s almost impossible to put into words all the different layers of instrumentation and vocal harmony.  And when Calexico adds their signature southwestern rock charm to the mix, I actually believe it when they sing “Wild, wild horses / We’ll ride them someday.”
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#1 – The Sundays cover
No contest!  No, it’s not The Cranberries.  No, it’s not Hope Sandoval of Mazzy Star.  These hauntingly beautiful vocals belong to Harriet Wheeler, lead singer of British alternative band The Sundays.  Some may recognize this track from the Fear soundtrack, particularly that “climactic” roller coaster scene when Mark Wahlberg, well, takes his hand on a little trip South of the Border with Reese Witherspoon.  Anyway, this cover song has extreme sentimental value for me since it’s been known to have gotten me through some rough and trying times.  I love the jangly guitars, her incredibly resonant voice, the overall ethereal quality and the fact that this sounds like the sweet indie dream pop I live for.  I could listen to this song on loop for hours, I have and I do.  And when she sings, “Oh, I watched you suffer, a dull aching pain / Now you’ve decided to show me the same,” I actually want to call up Mick Jagger and tell him “Oh man, I know what you mean.” Not only is this my pick for the #1 cover of “Wild Horses” of all time, but it is arguably my pick for best/favorite cover song of all time, too.  As the Cowboy Junkies did for The Velvet Underground‘s “Sweet Jane”, The Sundays took a Stones hit, stripped it down, and made it entirely their own and it’s hard to believe this isn’t an original tune of theirs.  I particularly love when Wheeler harmonizes with herself in the closing chorus, which only highlights how gorgeous her voice is.  And wild, wild horses couldn’t possibly take me away from such a classic cover song.

Earlimart is shaping up to be quite the prolific indie rock band with their sixth studio release, Hymn and Her (available now on Majordomo Records), coming out just one year after last July’s Mentor Tormentor. Subtract a few previous members and Earlimart now exists solely as a duo. Specifically, Aaron Espinoza and Ariana Murray make beautiful hymns together while keeping the ‘him’ and ‘her’ in, well, Hymn and Her. Aside from winning the award for “Album Title Pun Of The Year,” Espinoza and Murray share vocal duties. Although he mostly sings lead while she complements him with backup vocals, this record marks Murray’s debut as a capable female lead vocalist, as well… and hopefully this becomes a signature mainstay.

After countless recommendations from trusted resources, I was hesitant starting my indie rock reconnaissance six albums in. However, Hymn serves as an excellent introduction to their sun-kissed brand of California dream pop. Many claim their entire sound catalogue bears heavy resemblance to the likes of Elliott Smith, Pixies, and Sonic Youth. It also seems to me the sounds crafted here are in the vein of Pedro The Lion, Rogue Wave, Camera Obscura, and American Analog Set. If you already dig these artists, it’s safe to assume you’ll be a fan of Earlimart sooner than Ryan Adams churns out yet another record.

This entire album is incredibly fluid, with each song flowing seamlessly into the next. Boasting a sunny disposition and easy-going feel, Hymn is great for a long drive along the coast or a laid-back evening at home sipping wine on the couch. Thematically speaking, these songs don’t exactly span continents but this isn’t necessarily a bad thing because soothing melodies coupled with relatable lyrics is a musical formula that never gets old.

Remember when Hope Sandoval (Mazzy Star) and Jim Reid (Jesus and Mary Chain) unexpectedly wrote the romantic duet, “Sometimes Always,” that left people wishing they had collaborated on an entire album afterwards? Well, Hymn basically sounds like the album they never made. Much like Reid, Espinoza occasionally rocks the cool guy quasi-spoken word vocals (and actually gets away with it) and as Sandoval, Murray could teach the Feists, Jenny Lewises, and Emily Haineses of today what it is to be sultry. In fact, when Espinoza and Murray’s musical chemistry comes together, they produce gorgeous results. With his resonance and her sensuality, together they “really make babies when the mic’s on” (quoth Kanye West).

In a world of noise-based indie, sometimes it’s nice to discover some great make-out music that’s perfect for getting your horizontal sway on. Espinoza and Murray craft atmospheric mood music that’s meant to be enjoyed by every him and every her during life’s more tender moments. And the instrumental arrangements form sound pieces that are warm, mellow and intimate, much like the prelude to a really good kiss. Sometimes it’s Espinoza’s silky smooth tone, other times its Murray’s wispy backup vocals that serve as gentle coos in an ocean of “ooh’s” and “ahh’s,” but either way… when their vocals collide, you’re in for some sonic sensuality.

The record opens up with “Song For” a catchy number that hits you much like a song on full blast when you turn your engine and realized you left the car radio on. It’s also the album’s best driving tune. The Camera Obscura-esque break-up gem,“Before It Gets Better,” is serene in its simplicity and quite possibly a song we’ve all written in a past-life. Much like a newfound relic of love fallen from grace, this song is hauntingly beautiful and allows Murray’s voice to shine. But it’s “Face Down In The Right Town” that showcases Espinoza crooning along with Murray’s soft “ooh’s” and “ahh’s” and reminds us how harmonious male/female vocal interplay can be. Plus, the surprise trumpet at the end adds a jazzy mariachi feel to mix things up a bit. On “Time For Yourself” (a Murray number), the electronic beats sashay around with simple piano and add a nice contrasting touch that works well with her dreamy voice.

Then there’s a bevy of tracks that are decent Earlimart songs or just good because they sound like some of indie rock’s forerunners. “For The Birds” and “God Loves You The Best” have soaring vocals reminiscent of Rogue Wave, where “Teeth” is a cheap-imitation of “We Used To Be Friends” by The Dandy Warhols, only better and slightly less irritating. “Great Heron Gates” showcases Espinoza’s whispery vocals a la Snow Patrol, plus the usage of bird sounds is the cutest thing since Tom Petty did it on “Learning To Fly.”

My only real criticism is you strip a band down to a male/female duo, name the album Hymn and Her, but oddly… where is the obvious duet? On the uber-romantic title track (“Hymn and Her”), this was a potentially amazing duet that never happened. Murray sings so gently as if she is blowing air on his vocals. This adds even more sweetness to the sounds, but she never gets a chance to shine on her own. An acoustic cover of Postal Service’s “Nothing Better” or perhaps an updated spin on Jesus and Mary Chain’s “Sometimes Always” would have been stellar options they also did not take. It also irks me that they closed with “Tell Me” when second-to-last track “Town Where You Belong,” with its blaring vocal outro and slow hand claps, makes more sense as a closer. But when you find yourself criticizing just for criticism’s sake, you know you’re reviewing one helluva solid album.

Earlimart: website | myspace

Written by: Mona Sheikh