Hatchet reporter Dan Stelly shares his latest musical obsessions.
“It’s Not Impossible (Boys Don’t Cry)”
Ben Sollee
As a growing fan of folk rock, I was hooked by cellist Ben Sollee’s debut album, “Learning To Bend.” Not only is Sollee a virtuoso cellist, but he also has a distinct voice and the ability to write catchy songs like “It’s Not Impossible (Boys Don’t Cry)” Here, Sollee blends banjo, cello and saxophone into an upbeat groove after opening with a more classical-sounding solo. While the banjo riffs behind him, Sollee’s lyrics take on something stoic, as the singer explains, “Boys don’t cry,” even if they’re dealing with heavy issues. The bridge features an impressive saxophone solo, and the instruments continue to jam while Sollee closes out the song. The folk-inspired piece is short but sweet, and definitely an uplifting tune that puts Sollee’s talents on display.
“Constant Conversations”
Passion Pit
On Passion Pit’s summer album release, “Gossamer,” the band’s dance beats and shimmering vocals are back and better than ever. On an upbeat, energetic album, the song that stands out is actually the slowest one and perhaps the most heartbreaking. “Constant Conversations” takes listeners on a trip through lead singer Michael Angelakos’ internal demons. These devastating lyrics are wrapped in a droning beat and the ambient backing chorus Passion Pit is famous for. Angelakos’ voice floats above everything else, completing the pulsing melody that could easily be mistaken for a feel-good tune. But in listening closely to the lyrics, one can recognize his struggles. That juxtaposition – and the song’s ever-present dreamy beat – make this song so addictive and notable.
“Driftin’ Blues”
Sam Cooke
I always love a classic blues tune, but finding this one by the great Sam Cooke was especially exciting. “Driftin’ Blues” starts with a sultry tenor saxophone solo, followed promptly by Cooke’s golden voice, lamenting how he’s “driftin’ like a ship out on the sea” and hoping that his “baby would take [him] back again.” Even with these simple lyrics, Cooke’s emotion carries the song forward while the piano accompanies his voice. The intensity builds as the band starts swinging a little harder and Cooke starts losing the enduring hope with which he began the song. Finally, he realizes there’s no more he can do, and the band’s emotive sound echoes his defeated tone in a perfectly-crafted peak of emotion. Cooke is at his finest as he ends triumphantly, “This time you be the one to cry.”