Author: willis
Deep Dive #132 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| French Disko | Stereolab | 1993 | Willis | Indie Rock, Avant-garde, Synth-pop | Despite the fact that this is considered one of their most recognizable singles, I didn’t know it, and at first assumed it was a Radiohead cover. Though further listening cleared that up. From the driving drum beat to the repetitive tinny rhythmic guitar chords and electronic/spacey flourishes, the anxiety (to borrow one of your descriptors) is quite palpable here. | Alright, I can see you aren’t f’ing around this week! I immediately perked up seeing this selection. This was the 2nd song I heard by them, and the primary reason I’ve been a die-hard fan since. The solo at 1:20 was the prototype for my guitar playing, because it was simple enough for me to pull off, but also gorgeously emotive. The voice, the organs, the chugging beat, the 60’s girl group melody – it all adds up to a cacophony of vintage psychedelia. Doesn’t get better than this. |
| Ahead | Wire | 1987 | Gregg | Post Punk /Avant Pop/Art Punk | At first I hear early new wave in the synths and drum machine – like right at that Joy Division/New Order transition. I never would have guessed they were anything “punk”. This band’s name barely scrapes the deep crevices of my memory, such that I don’t know if I am remembering the chorus “I Remember” or it is simply psychologically planting itself because it is so catchy and natural. Listening to some of their most played songs, they do sound more instrumentally punk/rock in structure/vibe than this one, but I agree more lyrically sophisticated, vocally pleasant and more eclectic than rebellious and loud “punk”, that I could get into. | This song shares a similar ‘train-like’ momentum. It starts subtle, as if to warn you to jump on the platform before the train departs, never to stop again. Wire were always 2 steps ahead, never staying the same. In the Punk world, they were Gods, but they were only punk in attitude. The music was accessible but also weird. The vocals were clean and pleasant, but also dark. They always did just enough to avoid the mainstream. Their legacy is sealed, mostly because they never sold out. They were a true “indie” band, before it was a thing. This remains their most “radio friendly” song, but ofc it retains their raw melodic energy. The hook sticks with you, too. I find myself singing “I remember, I remember” for days after listening. |
| Everybody Told Me | The Linda Lindas | 2026 | Willis | Pop-Punk, Indie Rock | Being Asian-American, I occasionally follow this specific pop- culture. In the 90’s “Giant Robot” was a very popular magazine that grew into a retail store. This punk band started as pre-teens (the drummer was 7), kickstarted from this culture in 2018. Touring north America this month. @the Greek 9/17 The dreamy quality of this track (vocals and keyboard accompaniment) and “lazy” drums(for a punk band) and catchy minor key chorus gives it a really strong post-punk vibe. This track stands out either like a golden gem (for HFD listeners) or a sore thumb (for hardcore indie punk listeners) from the rest of this album, which has several driving LA-punk guitar power chords and hard hitting drums. | I’ve long read about them, but never properly listened til now. This song is excellent. Idk if their other stuff sounds like this, but if it’s anywhere close, I’ve made a giant mistake dismissing them for so long. There are 10-15 popular indie pop artists making music similar to this, but (based on this song only) I think this is better! Hooky, melodic at every turn, and a well-written structure for a modern pop song. Damn. |
| Talking In Your Sleep | The Romantics | 1983 | Gregg | Alt Pop /New Wave | 110% agree this song has always been a standout not just among their other music, but somehow above other pop songs of the same era that I always accepted as fact without listening why so I am glad you picked this before I did. The different phases and parts of this song are so obviously pop structured, but epic. The way the bassline has an additional synthetic slap and does a dance with the guitars. The pre-chorus with the hard hitting synth drums “You TELLLLLme thatyouWANTMEE” The robotic vocal overlays in the chorus are kinda chilling. | When I think of well-written pop songs, this is one of the first that comes to mind. There’s always been that ‘something’ here, a formula maybe, that plays on my heartstrings. The echo in the verses, the tension-building bridge, and then this massive chorus. In that chorus, a strummed 12 string guitar starts chiming in the background and it lifts the song to the stratosphere! That guitar (for me) is the hook! It creates a dreamy, sparkling atmosphere for the big hook of “I hear secrets that you keep…”. It also sounded dynamite on the radio. The production was so crisp and metallic, you could almost hear things in 3D when it played on the airwaves. |
| Games | Molly Burch | 2021 | Willis | Indie Pop | A random algorithm play for me which stood out immediately, and wasn’t sure why at first. Multiple listens reveal that her voice switches between breathy Kate Bush to the belting chime of early Madonna in the chorus when she sings “I’m lost” and “I’m caught”. As i learn more and more little bits here and there of the physics of singing, it sometimes helps me to understand a little of why I like a particular song like this. I need to dive a little more. She is compared to Angel Olsen or Cat Power, but don’t know them either. | Another first listen for me. The name is familiar, but there are many molly’s making music. First thing I thought was “Oh Kate Bush, man”. Then i thought, “the chorus sounds like St Vincent meets Madonna!”. Then I look at your notes, and burst out laughing LOL. I didn’t think I was gonna enjoy this as much as I am. I restarted it 3x. I wish it was 1min longer, even just riding out the ending with a lightweight jam. |
| Something Sparkly (Little Smoky Mix) | Tadpoles | 2026 | Gregg | Neo Psych /Space Rock | I get a total pysch vibe from the Beatles-esque sitar riffs and the Beta Band like vocals. I would have guessed them as UK origin because of this. The effects on the vocals really puts them up floating on some fluffy cloud (or slowly orbiting satellite) The whole song feels like it fits right at the end of a long festival set where they are just vibing and improvising off each other, keeping it going and everyone’s along for the ride. I bet you could loop this and would do well as background for work or a long flight where you don’t actually want to consciously think or take a nap. | These guys came from the NY area, and almost felt like some mythical druggy band that lives underground, only to emerge for some 2am set in a boarded up old church in Alphabet City for 45 people. They existed among us, but only select few truly SAW them.They lived in Hoboken in the mid 90’s, where I worked at the Go-Go Bar DJ’ing, so I eagerly awaited my opportunity to see them perform somehwere. I never saw them, but always drew inspiration from the air of mystery that surrounded them. All that said, I only knew a few songs from them, and loved their hazy psychedelic leanings. But their CD’s were hard to come by, so my knowledge remained limited. Last year, they released this single, and I must’ve missed it. FastFwd to 2 wks ago, and this “remixed” version shows up. I got so excited, thinking this was their first new music in decades, but then found out it was a remixed/re-released, one-off single from ‘25. It’s so damn good. I hear so many influences in here, and I think you will too (Mercury Rev, Pink Floyd, and Spaceman 3 being a few) |
| Moskow Diskow (Remastered) | Telex | 1979 | Willis | Synth-pop, Electro, New Wave | While on my “cruise ship vinyl binge” in the port of Halifax, Nova Scotia, I had about 10 minutes left before the last call to board, so literally ran to a hipster record/coffee shop called “Rooms” who curated their vinyl and had a legit listening station with SL-1200 and stools to sit upon. I felt compelled to buy just for the experience and hastily got this,, and so glad I did. They’re like a less serious, Belgian version of Kraftwerk. | Was very eager to hear what this band sounded like! It’s so Kraftwerky, obviously, but I also hear a ton of Jean-Luc Ponty and Cerrone. Very simple and minimalistic, which is something I admire about early technotronic music. It allows me to appreciate the oscillators and synths and drum machine! There is a cool little ‘hand clap’ snare towards the end that humanizes the whole track. |
| For the Season II | Clinic | 2013 | Gregg | Psych Pop /Post Punk | The beginning has an interesting tinge of R&B and jazz (coming from the synth hi-hat/snare, hammond organ and sax fills). I picture my late friend Chris B. playing that sax fill with his eyes clamped shut and cheeks puffing out. This fits his cool/weird style to the T. I’d compare this to Flaming Lips with the pace and vocal placement (alone in a big empty space) Forgot that you played these guys before. After checking out some of their other work – very interesting, different, and weird. I like it! I can see the Radiohead comparisons in a song like “Come Into Our Room” | This is a strangely beautiful one. I hope not too challenging for some. The vibe is Radiohead-esque, as is Clinic in general, but they’ve been happening/creating simultaneously for decades and sometimes seem to borrow from one another w/o any1 noticing. I’ve had this theory that in another timeline of my life, Clinic are as wildly popular as Radiohead, and roles are reversed. It pains me that this is one of Indie music’s best kept secrets. They are weird, sure. But they are masterful musicians and creators. When I hear this song, it takes me to a very specific daydreamy headspace. The part where the song subtly shifts melody – he sings “but ohhh, I know you. Ohh, I have been you.” Those few measures take my breath away. The whole song seems to exist separately from reality. It makes me sad, happy, and reflective. |
| You Don’t Love Me Yet | Bongwater | 1990 | Willis | Alternative Rock, Experimental | Although I’m not familiar with ANY of their other work or even the original artist Roky Erickson, when this tribute album came out “Where the Pyramid Meets the Eye”, I was impressed by the lineup of artists (REM,Jesus and Mary Chain, Primal Scream,John Wesley Harding, ZZ Top” yet the music meant nothing to me, except for this awkwardly sincere song. I often played this at the end of my own “under cover” show in college. It is so grey and gloomy. Although basic acoustic guitar chords, the effects are compelling. the vocal layers create a sense of very empty space. The slide guitar is like a single-soul standing alone on a tiny patch of land in a motionless subterranean sea. Love how the ending picks up tempo and it kinda brings you back in to reality | What a wraparound to this one! I’m familiar with the original (I’m a fan of Roky and the 13th Floor Elevators, his OG band), and in fact – I remember this CD being out! I never purchased it, somehow, but I’d heard a few of the other songs by artists that I liked on the comp. Since I didn’t know this band’s name – I guess I avoided listening. So much about this I love. She almost sounds like it’s HER song, cus she sings with such comfort and conviction. At times, I almost hear a little Sinead (dare I say). The ending is captivating and epic. |
| Luka | Suzanne Vega | 1987 | Gregg | Avante Pop? | This song came out alongside Madonna, MJ, U2, George Micheal, Los Lobos… top 40 was saturated with different styles (what a time to have a radio!) so there was something refreshing and grounding from its clean, folk-rock simplicity, with the point of view being a repressed, doe-eyed emo character sorta sharing/not sharing. (“don’t ask me anymore”). I was instantly enamored. I bought this album Solitude Standing on tape, but at 17, the rest of the soft/pensive works were above me, so I’d just rewind it over and over for Luka – however the very last song, Tom’s Diner was like a nice secret bonus you had to go past a long quiet space. | This one might seem frivolous. I don’t ever remember a time when I didn’t love this song to the bone. When it was released, I was 11. At the time there was a national news story about a little girl who was beaten to death by her parents. Lisa Steinberg maybe? Anyway, I remember thinking this song was about her, so it made me emotional when I’d hear it (as a kid). Eventually, in later years, I became infatuated with the breezy, chimy quality of the music behind her. It could almost be REM or 10,000 maniacs playing. Funny enough, the last 30 sec or so are my favorite part, even though it’s instrumental w/ this Cure-like guitar solo ringing over the somber finality. Such an impactful piece of pop music. We’d never hear a song like this on the Top 40 in 2026. |
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Deep Dive #131 Archive
Deep Dive #131 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Sincerely Yours | Sweet Sensation | 1988 | Willis | Latin, Freestyle | I grew up only liking whatever was convenient on the radio, and never made impactful musical choices until my later teen years. which were then subject to heavy self-scrutiny. The high energy soul of freestyle resonated with my taste, but not with my image. Summers were a break from the stereotypes of my school bubble and gave me freedom to enjoy this whole other world, becoming the catalyst of maturity into a dynamic personality beyond stereotypes, listening with my heart without cultural filtering. This and “Show Me” by Cover Girls have similar vibe, but these lyrics are much more affecting. Even the opening “Dear, I write you this letter…” the freestyling towards the end feels like improv and gives it a live, legit feel. | When this came out, I used to secretly borrow my sister’s CD to listen to the best 4 or 5 songs (this being one). I was caught between being self conscious & proud about liking this, I just couldn’t be sure if it was “cool” for a 13yo boy to like this kinda music. “Never let you Go” was my fave, but this was 2nd. I liked the latin flavor of it, and also the fact that it was slightly less BPM than most freestyle/dance hits of the time. Gave it slightly more of an R&B feel. Always felt this could’ve been a Gloria Estefan song, or even Jody Watley. This is PURE Summer of ‘88 vibes for me. |
| No Reason To Cry | Judy Torres | 1988 | Gregg | Freestyle | The beat + fast bassline are a solid groove standout of this era that I always dug and never really broke it down why until now. The freestyle formula where they sing in a speaking way in a low/mid range hitting lots of minor notes that stretch across the rhythm. It’s like a trigger for really any kind of movement (dancing or driving). The standout here is when she takes off in a high belting voice that soars into the darkness. That beat change mid song is SO OMG, you almost can’t notice those ubiquitous vocal samples “doot doota dit dit..” that were such a popular flourish. | In the next summer between Middle & High School, I really embraced Freestyle. My sister was bringing home Mixtapes from her resident highschool DJ (“DJ Eric Niice”), and I would study them like a student prepping for an exam. Listening where he’d choose to beat mix the next song, how quickly he faded out, how he kept it tracking, etc. The first tape that became the template for my future as a H.S. Dj (and mixtape master) featured this song at the climax. To me, this could’ve been a New Wave song, if it had the right dark, male vocals. It had a gloominess to it, which I still enjoy. It also has one of the thickest, purest, kickerbox thumping beats I’ve ever heard. Every Guido in the NY Metro Area would blast this from their IROC Camaro, while driving 2mph as they cruise around the hot spots looking for girls. I can still feel that beat in my chest, 37 years later. |
| Someday, Somewhere | Jungle | 2026 | Willis | Neo-Soul, Indie Electronic, Disco-Funk | I’ve had these guys on my list for months, yet never felt the music was enough to talk about besides a retro approach and chill upbeat vibe. They just released a new album and are starting a world tour in some big arenas, so thought a good time to share. This is a short song, but the vibe is clean and clear. I hear their multi-layered harmonies (Male or female we can’t be sure) wafting off the stage of a huge summer festival from a past era. | Delighted to see (and hear) this. I’ve had the same ‘indifferent’ feeling towards this band, even though I’m very aware of their popularity (and wide appeal). After refusing to even listen, I finally caved and added a song from this album to HFD, because the ONE I chose to sample turned out to be amazing (“Come back to me”). Made me question my whole reason for not giving this band the time of day! Now I’m hearing this, and I’m really questioning myself! This has a classic 70’s disco/funk sound that feels timeless. I love the subtle thump/clap, disco-house rhythm, as well as the unison vocals that create a dreamy atmosphere like many classic 70’s soul music. |
| We Live In Brooklyn, Baby | Roy Ayers | 1972 | Gregg | Psych Soul /Jazz Funk /NYC Streets | This is a song for big yellow can headphones with a long coiled retractable cord connected to a “HiFi” while sitting on an orange beanbag. The two note pattern creates such a tense, anticipatory feeling. Less is so much more in this case. Muted strings making the rhythm… now I feel like watching the movie “Shaft”. My first trip to NYC as a teen in the winter (to watch the ball drop), and it was everything the movies captured (The Warriors is one of my fave movies). The term “getting mugged in NY” was such a meme of that era. | If you want to hear what the streets of NYC looked like in my childhood, you’ll find it in this song. There was a grit and hardness to the NY streets prior to the 90’s (Rudy Giuliani actually did some good things back then). It’s hard to imagine how different it was, but even as such, I was beyond fascinated with the seediness of it all. My parents were so concerned I’d move to Manhattan after I turned 18, cus they left the city for the NJ suburbs to keep us OFF the streets lol. Now – as an adult – hearing this specific song reminds me of what it felt like to drive or walk around. Sure it was intimidating for some, but for those of us who grew up around it, it was pure bliss! Music, Art, Fashion, Controlled Chaos, Energy vs Poverty, Gangs, Homeless, and Uncontrolled Chaos. The tension was palpable, but so was the excitement. Also, what a friggin’ song. |
| Smalltown Boy (Remaster) | Bronski Beat | 1984 | Willis | Synth-Pop, DIsco, New Wave | I had this on vinyl and recorded to tape, which is my distinct summer memory as a soundtrack for driving on warm summer nights. Very naive in my teens, I only somewhat got the sentiment of the lyrics, but the dark theme contrasted with the sonic style. The completely falsetto singing over the driving bassline is a standout and the synths still sound great today. Do you feel like the tempo shifts slower to faster right before the drum machine kicks in? | Another Uncle Jimmy song. I have several memories to share about this song. My Uncle played the 12” import for my father in our Music Den (I still remember the moment vividly) – and Dad became obsessed. Always one of his all time favorites. So this song was a big part of my growing up. I had so many confused feelings about the lyrics and the meaning, because I still didn’t understand what it meant to be “gay”. Dad tried explaining, but the concept was so foreign to my reality. However I could hear he was clearly so sad, and it made me feel the same. Once I came to understand the lyrics, it made me appreciate the song even more. The video was groundbreaking, showing a runaway gay teen boy making eyes with a man in a bathing suit at the YMCA, and delving into a topic that had never been so overtly displayed on MTV. Has to be considered one of the greatest Synth Pop songs of all time. |
| Advice For The Young At Heart | Tears For Fears | 1989 | Gregg | SophistiPop /Jazz | This is a great dive. I don’t know this song, and have enjoyed listening from your perspective. It’s more subtle than their catchy songs which have captivated even the newest generations. Not owning “Songs from the Big Chair” until now (thanks to you), I never heard the true jazz sound they seem to have always had. When this album came out, I was disappointed it lacked the new wave sound. How different we grew up, to this same music but from different perspectives, yet still ended up in the same place here. That is crazy power if you think about it. | To say this is one of the most meaningful songs of my life would be an understatement. Whats funny? It was relatable to me, even as a 16 yo, but at that time it wasn’t even supposed to have meaning. Now, as a middle aged man, this song takes hold of my soul with its melancholy wisdom. I had no clue it would feel this way to grow up. But the wisdom in the lyrics prepared me for what I feel now. I took mental notes.Back then the lyric “Soon we will be older” made sense to me, and made me relate in a subtle but impactful way.The cool jazz meets new wave juxtaposition created a unique aura that intrigued me. But then it explodes into the most perfect falsetto chorus that brings so many feelings. “When I think of you & all the love that’s due, I make a promise, i make a stand. Cus to these Big brown eyes it comes as no surprise, we got the whole wide world in our hands” |
| Under the Bridge | Red Hot Chili Peppers | 1991 | Willis | Alternative Rock | Although not released during the summer, the sentiments and emotion captured in this song can fit any seasonal context because there are many interesting aspects of this song. When this came out, I couldn’t stop listening, and both happy/not happy for their success since then. Despite being overplayed, I want to listen NOT as alt-rock nostalgia, but rather break it down a bit into why I think it’s a masterpiece. | I never know what to feel about this song anymore. There was a time when I liked it just fine, then got so tired of it, then rediscovered and appreciated it again, then never wanted to hear it again, etc. It’s a vicious cycle lol. I’ll never deny the song’s greatness, and in fact, maybe exploring it in depth will spark another wave of “positive” feelings. To me, it was always about the grandiose ending. It was at that crescendo where Frusciante shines the brightest: “Under the bridge downtown, is where i drew some blood”. I’d always wait through the early parts of the song until that part hit. It was so perfectly done. I still ‘wait’ for it, whenever I’m forced to hear it (this one seems to pop up outside of my control more than almost any other 90’s Alt song).Oh, btw, the only reason the RHCP are listenable for me is John Frusciante. |
| Natural One | Folk Implosion | 1995 | Gregg | Indie /Trip Hop | Oh yeah I remember this one hitting our modern rock station Live 105 hard. I mostly ignored the bulk of the song though, because the little guitar hook plus “I’m the one natural one…” was oddly all I needed to hear. Then it would be followed up with Alice in Chains or Pearl Jam. That was the vibe and you couldn’t hide from it except to switch stations. It’s much better isolated from all that other noise. I still think it sounds like NIN, but the song never gets out of hand and stays groovy. That intro into the beat and bassline is pretty epic. Good headphone production. Spinning rattle in the left, jazzy piano chords up on top, I can picture it in a movie for sure, tho I have not even heard of this movie. So of course now I have a sidequest. | From the most mind-f**king movie of my teens, “Kids”. Everyone in the NYC area watched that movie, and we all were forced into a reality check (if you’ve never seen, i’ll explain). The soundtrack, on the other hand, was one of the most inspirational pieces of art of my formative years. Knowing it was Lou Barlow (of Dino Jr & Sebadoh) made me inclined to like it – but hearing him embrace more hip hop/trip hop styles was a force for me. I wanted to make music that sounded this compelling. It had just enough pop and hooks to be played on the radio (it was a fairly big hit on Modern Rock radio), but was also mighty bizarre upon inspection. The one line that always hits me (in the chorus refrain) is “There’s no telling what we’ll do when we’re free”. For some reason it resonates every time i’ve listened. Do yourself a favor and listen to the Kids soundtrack some day. It’s brilliant and challenging at the same time. You’ll hear the beginnings of Mynuskris in the several Folk Implosion songs. |
| (More Bounce In) California | Soul Kid #1 | 2006 | Willis | Indie Funk, Pop, Soul | Alicia surprised me with this one a few weeks ago and the infectious groove immediately got my attention. Her yoga instructor used to play it as a fun change from the usual chants and mantras. I thought it too cheesy for the show, so studied other tracks from this album for consideration – but actually, I completely missed the true context of these lyrics and think it’s an interesting share as more than meets the eye. I don’t think I’m the only one, as it has been used as an LA anthem in movies/TV shows like the O.C. and Laguna Beach. The beachy vibe seemingly glorifies the CA vibe yet the message is more of a diss because as a Canadian trying to make it in LA, he felt totally out of place. The reference to girls being on a “Vivid DVD” is niche of the era. | This is my first ever listen. I thought it was a mistake, when it started, like maybe I clicked on a TV show that had a quirky theme song. This certainly has a beachy, summer quality to it. I also notice the time-stamped production sound of the 00’s; lots of punch to the beat, angular guitars, samples, simple/repetetive bass chords, etc. I don’t usually have a soft spot for this sound, but listening with open ears allowed me to enjoy the joyfulness of it all. I like the chorus more and more, as I keep listening. |
| Love You Inside Out | Bee Gees | 1979 | Gregg | GrooveFunk /Neo Soul | I look forward to reading the lyrics as we listen to this taking your analysis into perspective. The only two things I add are on the “sonic” surface: 1. it is a good crossover song for someone who loves the Saturday Night Fever soundtrack (also in my collection of great films). 2. The falsetto harmonies really put on stage without the heavy handed disco. I’m really glad the Bee Gees evolved to this sound from their earlier Beatles-like rock sound. (which was fine but wouldn’t have had as much impact) | There is no better time for me to feature this song, than on our Labor Day “End of Summer” show. Every BBQ playlist should include this song. There isn’t enough space on this document to contain my thoughts about it. This is the prime example of “Happy vs Melancholy” or Bittersweet. The melody and the music convey bliss and happiness. But the lyrics are incredibly heavy and sad. And the way Barry Gibb delivers the lines is divine and SO convincing! Not sure if the melody or the lyrics are better. I can point out so many lines, but this one summates the song best:“Treat me like a vision in the night – someone there to stand behind you when your world aint working right. I aint no vision, I’m a man who loves you – Inside and Out. Backwards and forwards with my heart hanging out. I know no other way, what am I gonna do if we lose that fire?” |
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Deep Dive #130 Archive
Deep Dive #130 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Love Would Be | The Jenny Thing | 1994 | Willis | Indie Rock/Pop | In 1993, my GF Sharon was friends with the lead singer of this Berkeley-based college band, and supporting them became a pillar of our relationship for years. Dozens of shows from radio station to dorm hall, dive bars and small venues. They built a strong bay area following and had a short run on Star Search before breaking up for their guitarist/co-writer to attend law school, which was coincidental with my own relationship ending. This, combined with learning the religious undertones of their music, I shelved their albums because listening became weird. Time gives fresh ears, and I just noticed they re-grouped in 2021 with a more electronic sound, so maybe we’ll hear that on a future show. | This is really nice. It’s interesting how I can identify the time-frame just by the production and songwriting techniques. It immediately brought 2 bands to mind (one of which you might see below), but it still separates itself with very unique lead vocals. There’s a soulfulness to this; I believe what he’s singing to me, even without any context. I’m sure it was fun seeing this band develop in the local scene from the front row. Relatable for me, from the other side of it (seeing fans follow us around and us becoming friendly with them). |
| Halo | Deep Blue Something | 1995 | Gregg | Jangle Pop /Power Pop /Pop Alt | Breakfast at Tiffanys is another of my guilty pleasures, but I never followed the band beyond that. Yesterday, I must have listened to their catalog for 3 hrs straight and was pleasantly surprised by their versatility from intimate acoustic driven to bigger stadium sound and effects, varying vocal styles, and clean drumming. | This band was a true 1-hit wonder (“Breakfast at Tiffanys”), and it’s not necessarily fair that they were judged so harshly on that 1 song, albeit a novelty-ish tune. The same album was filled with adventurous pop songs with more than a little edge. I felt there were at least 3 other Top10 worthy songs, inc this one. There are lots of Cure-esque moments with the guitars here, but the hook is SO strong. It’s just weird enough while still being pop. The songs/melodies of DBS were reminiscent of bands like Toad the Wet Sprocket and Gin Blossoms, yet they had a small fraction of the success. |
| Start a Family [Feat. Alan Rickman] | Texas | 2015,2023 | Willis | Alt Rock, Trip Hop, Spoken Word | I had their 1989 debut CD Southside on repeat through many a midterm-study session for their moody, bluesy ,alt-country sound but had no idea who they were. Assuming they were a “country” band from Texas, I archived them in my mind in guilty fashion.. Looking them up now, I am surprised to learn they are an alt rock band from Scotland that have produced lots of eclectic music I would have loved. So now I feel EXTRA guilty for NOT following them. Although the original release of this song did not have Alan R., it was recorded at that time, but not released until 2023 with his spoken word, which is nothing short of outstanding, especially when he almost sings. | I remember this band for 1 song only back in 97 (Say What You Want), and I thought it was their only modest hit. I guess not! This was surprising to say the least. I didn’t think I’d like this (on paper), but the spoken word part works beautifully with the large chorus (which is a terrific hook). I also love the thick, groovy hip-hop drums. I am digging this a lot. |
| It’s Not Unusual | Belly | 1994 | Gregg | Power Pop /Post Punk | I’m glad Belly gave us a modern version to do the Tom Jones dance to. I myself had to read up on TJ to understand why he has been knighted. Though (forever an optimist) I’m changing my perspective on what it means to be a Vegas act. | It took THIS version of this song for me to fall in love with it. I thought Tom Jones was a Vegas act that old women adored, but couldn’t take him seriously until Belly opened the door for me. This makes me wanna jump for joy, while simultaneously making me want to reflect. It’s truly a genius pop song, and Belly makes it slightly more angsty and vulnerable. Perfect for any party playlist, by every measure: Cool factor, familiarity, irony, Danceability, etc. *Featured on the With Honors Sdtrk – which was loaded with amazing songs & covers. |
| Into The Night | Benny Mardones | 1980 | Willis | Adult Contemporary | So many choices in this genre. Whenever this song came on the radio, I could neither ignore it, nor identify the artist. Even to this day I had to look it up by the lyric search. Remade, re-released, and remixed, it is a genuine one-hit wonder, which actually hit twice within the same decade. That “16 yrs old” line never actually registered as creepy with me. Actually as the story goes, that line came from more of a protective context, yet in this song it gets somewhat misappropriated (except with me, apparently). His compressed cries exude such pain and sincerity. | From the first time I heard this in 1980, I was obsessed with it. Every time it came on the radio, my family would call for me: “GREGG! YOUR SONG IS ON!” lol. Aside from the obvious perfection of melody and emotion and hooks, the ending vocals where Benny shouts and cries out to his lost love while his voice was swathed in reverb and delay just proffers chills up n down my spine. I couldn’t believe how impassioned he was, and it made me wanna cry for him. Even when he sings “But I want you to knowwwww…”, I felt like the most important words on the planet were about to be sung. As I grew older and this song’s legend grew along with me, I do find it peculiar that he was professing his love to a very underage girl whom he can’t “have”. So that makes my sheer enjoyment a little muted & uncomfortable lol. He also didn’t even look “youngish”, which amplified the weirdness for some reason. That said, it’s a Soft Rock masterpiece! |
| Everything Shines | The Push Stars | 1999 | Gregg | Power Pop /Sunshine Pop Alt Pop | I don’t recognize this band or even the song, probably because the movie was a love/hate reaction from me (hilarious and entertaining yet crosses the lines of raunchy to make you uncomfortable). Outside of the movie though, it is such an upbeat fun song, that I never would have picked out the bittersweet without your filter. Feels a little bit like an indie-ska version of the Rembrandts. | As you can prob tell, I’m trying to feature some of what I consider “feel good” or “happy” songs. Summery vibes are strong right now, and for some reason this song makes me feel so much joy. First heard it in There’s Something About Mary, which my father & I watched frequently together (a favorite for both of us). This song screams sunshine; L.A. or Miami beaches, people walking and smiling, red sports cars cruising slowly, bikini clad women and toned men playing volleyball. It sets a vibe. Oh, and the accordion! But as you know, with all “happy” music, there needs to be a tinge of melancholy, and this song has it in spades. This is like a young man, broke and lost, but now finding a GF and choosing to look at the brighter days ahead instead of the predicament he’s in. Bittersweet, but more sweet than bitter. |
| That’s right [feat. Sheila E.] | Kelly Clarkson | 2023 | Willis | Jazzy / Latin / Tropical Pop | With 3 number ones and a dozen top tens, it feels wrong to bring mainstream pop to HFD, but I have been having a moment with this artist since seeing the LV show. Her versatility, emotion and precision were incredible 24 years ago, and since then, her journey has and continues to evolve as much as her vocal power. Gospel at the core, but eclectic in the heart. She has leveraged her pop success to have the freedom to create whatever the hell she wants. So I’m guilty/not guilty on this pick. | Hmm. I never heard this song, and was taken aback upon hearing the first few secs. After the first verse, I was typing “I like this!” and then deleted when the chorus came along, cus I didn’t like the shift lol. But then it came back around again, especially when the horns came in towards the middle. If it wasn’t so ‘modern’ sounding, using similar production and beat styles to just about 80% of all pop music, I would love this. I think her voice is the star here (no big surprise), and the jazziness is also helping turn this for me. I AM glad you got to slip a KC song in here, though, as I know you had a great time at the show in Vegas – and it will be fun to hear you talk about that experience and the power of her voice. |
| King For A Day | Thompson Twins | 1985 | Gregg | New Wave /Glam pop | Your story is an interesting visual. I never in a million years would have associated this song with playing ball, OR even as something to “come back to” – what a music video that would make! Everytime I hear this song, it’s the production that I hear more than the words. The way the lyrics sway back and forth is so calming. The layers, harmonies and backing vocals are so evenly levelled (as many of their songs) that they take on an unpicturable poly-vocal being. It’s an interesting effect on me for most new-wave music, compared to an acoustic performance that song lyrics fall second to the interesting synths and production. | So many big smiles for me today. I can recall sitting in my bedroom at 10 yo, playing this 45 (front & back) over and over. Then I’d pause to run outside and play a quick round of whiffle ball, only to return to this melody once again. I was taken by them, and it was this song that spoke to me in unexplainable ways. Years later, I still would listen when I was down, just to help bring me back up & help me realize “things will improve”. This song’s lyric was therapy to a young boy w/ limited access, but a whole lot of records to provide encouragement. Several lyrics really hit home, but the best is “I’ve heard it said, or maybe read, only money makes the world go ‘round. But all the gold won’t heal your soul, if your world should tumble to the ground”. |
| Digital Love | Daft Punk | 2001 | Willis | Electronic / Dance | Knowing you’re not exactly a fan of them, I take this opportunity to dance a little jig to this upbeat ditty along with Juliette Lewis in the GAP commercial. That scene is a moment that has stuck in my brain, so well better than any roll of tape on my wall. (I collect adhesive tape) The dynamic energy changes in this song are both surprising and predictable at once. | Funny you mention my neutral position on DP, because I was trying to reassess that earlier this week lol. I really want to love them – I do! But I always fall back to “Yes, they are very good and produce very catchy, radio-worthy songs that are palatable for billions, but they aren’t special, and that’s okay!”. However i still respect and enjoy their music. HFD plays nearly 25 titles from them, so that speaks to.. Something. Including this song, ofc. In fact, on this particular album, this was one of my favorites (and prob the reason why it’s the only album I own on vinyl by them). Btw I love how this song ends. Never took notice before today. |
| I.O.U. (12” Mix) | Freeez | 1983 | Gregg | Electro /Electro Pop /Pre Daft Punk | I heard this (or maybe a remix?) for the first time on HFD while driving, and just wrote down “A.E.I.O.U.” on my notepad. I liked the alliteration or whatever you would call this word play. When I read the note later, I was confused “Why did I write that?” LIke you say, I assumed it was a more recent track than early 80’s. I would also call this Freestyle. The vocals at the end tho, she hits a high one! | I remember people in my neighborhood breakdancing to this song. Ofc, me being more interested in the music than the breakdancing, I focused solely on how crisp and thick the beat sounded! Years later, I revisited and realized it was every bit as influential and essential as any other synth pop song of the 80’s. Even now, if you didn’t know any better, someone could mistake this for being a post 2000 release. Back to nostalgia – In the summers, my family would go to Wildwood NJ for a week (Jersey Shore) and each night we’d go to the Boardwalk, which was a fascinating spectacle. Music blaring from every direction, Kids laughing and screaming, Roller Coasters, Bumper cars, funnel cakes, and full-blown sensory overload. But the best was hearing the many T-Shirt printing/Souvenir places blasting the best club and pop music of the day. You’d hear certain memorable songs at the precise moment before they became well known. They were breaking all the underground club tracks to unsuspecting families as they went about their vacations. This 12” version was the exact one I remembered – with the extended synth breakdown causing subtle electro tension. It was bliss! |
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Deep Dive #129 Archive
Deep Dive #129 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Lonesome Tonight | Bow Wow Wow | 1983 | Willis | New Wave, Pop Rock | Although not a BWW fan, I felt a deep dive would be fun. Little did I know that Annabella Lwin was only 15 when they released “I Want Candy”, and discovered singing in a dry cleaners at 13. I had heard about Boy George’s start in this band, but didn’t know he went by “Lieutenant Lush”. Neither did I know their drummer David Barbarossa was stolen from Adam and the Ants and studied Burundi tribal drumming which was core to Bow Wow Wow’s sound. For the backstory alone, It’s too bad they only released 2 full albums, neither of which are well presented on streaming platforms. She got fired after this album and tour, the band broke up, regrouped, and then split in two different groups named BWW. This song has punk energy with the dynamic guitar work, rocking “whoa whoa”, even the silly plucked chords “boop boop boop boop” are something I can play, but concisely convey anxiety. | I’m so glad you picked them. Admittedly, I almost shunned this band & unfairly considered them a blatant rip off of Adam & The Ants, and further to the point in yr notes, even went so far to steal members and the ‘tribal’ look (thx to Malcolm McClaren). Several songs are great, don’t get me wrong, I just had an odd ‘thing’ about them. But listening now, I can see I clearly missed some deeper cut gems! I can say i LOVE this, and will now pull out the record for listening this weekend lol. |
| Kings of the Wild Frontier | Adam & The Ants | 1980 | Gregg | Tribal /Post Punk/New Wave | Like BWW, I could never find a proper approach to Adam or the Ants, and chose avoidance. Maybe his timbre was too punk-rebel for me, but that energy oddly integrates with the cowboys and indians vibe. The drumming energy stands out, and like BWW works well in a mix of other music. | It only makes sense to fully immerse ourselves in these 2 bands, back to back. This is considerably more ‘tribal’ than BWW, but the template for both bands is the same. I’m often amazed at how adventurous Adam Ant was at this point in time. Music didn’t sound like this! It was almost alien, if not for the old cowboys & indians movies that featured Native Americans singing in this style. But to make it melodic is stunning. And then the climax is insane; When Adam sings “Down below those dandy clothes you’re just a shade too white. SHADE TOO WHITE!”, it makes me want to jump onto the battlefield with him. It’s so passionate and sincere. It’s easy to see how Trent Reznor took inspiration from Adam Ant. |
| Dope on a Rope | The Growlers | 2016 | Willis | Indie Rock | Streaming algorithms are doing their job here. They call their style “Beach Goth” blending surf, pop, rock, and beat and even hosted a festival for about 8 years. Vocals in the realm of Tom Petty, which are not usually my cup of tea, but their guitar work generally stand out. This song in particular has a vocal layering and effects that hit like Paul Banks. Guitar melodies are reminiscent of Johnny Marr. A theremin and synth that sneak in during the chorus as a nice electronic surprise. | So cool to see the Growlers make the Deep Dive! I have a loose affiliation with them, due to my friend / label partner Buck – who managed them and got them signed. So I guess technically they were part of our label, in a small way lol. They had several good-to-great albums, but I kinda lost track around 2015. I remember this album, but I wasn’t familiar with this track. It’s got a great, driving groove – and the melody is very poppy (surprisingly). Reminds me of early-mid Strokes, but also a more mainstream Spoon. I’m totally feeling this at this precise moment, late Friday night. Their earlier stuff is much more like psych 60’s garage rock, which was cool but less polished. |
| Days Go By | Sean Nicholas Savage | 2011 | Gregg | Retro Pop /Indie /City Pop | Confident warm vocals turned slightly imperfect is so indie. Simple rhythmic acoustic guitar and tom tom accents on the drum beat. This production resembles either a stretched tape (like Nocera from last show) but this has to be intentional. Also feels like a bootleg recording of a live show on a bandshell stage. It is endearingly classic and nostalgic, if not maddening to a technophile like me. | A breezy, summer morning song. Feels like it was written and recorded in 1968. I wish I could remember when or where I found this, but for some reason it has remained in my orbit via playlists for 15 years. I can never put my finger on who he sounds like, but he also sounds like so many and like nobody (at the same time). My musical synesthesia takes me to old memories, but in a photo album form; Pages turning with non-descript, sepia toned pictures that might not even be my own family. But someone’s family, and it gives me a warm feeling and a hint of melancholy. |
| Goodnight Moon | Shivaree | 2000 | Willis | Alt-Pop/Rock, Americana | I found this song on an old Capitol records sampler called “Bear Essentials” which has a lot of forgotten music. This is the best track on it. Featured in Dawson’s Creek, Kill Bill Vol 2, and Silver Linings Playbook. Vocalist Ambrosia Parsley sings like Gwen Stefani’s older sister mixed with Nina Persson from The Cardigans. As a No Doubt fan, I found myself listening to all 3 of their albums on repeat without fatigue. The mood is mysterious, slightly psychedelic Americana from the instrumentation such as this theremin and tremolo guitar. | Interesting! New to me, for sure. I agree 100% about the psych-americana tag! It’s mildly poppy and straightforward, but with just the right touch of weird & mysterious. It feels like a theme song to a tv show. I wasn’t sure where it would go – but the casual flow actually suits the song. It keeps enough of the Nancy Sinatra vibe, and staves off the obvious Gwen Stefani similarity. |
| Bach Ze | The High Llamas | 1999 | Gregg | Baroque /60’s Sndtrk /Orchestral pop | Another band I thought I found on my own while previewing this show and immediately began exploring for the next show…. only to realize it is already here on your list. Intentionally weird, with minor keys and dissonant melodies – but often warm production and occasional electronic glitches, sometimes hazy auto-tune. | Arguably the most distinct + unique thing I’ve ever brought to the Deep Dive. I started a love affair with this band in 2001, and my love has only blossomed with time. Imagine the Beach Boys, Steely Dan and Burt Bacharach writing period-piece soundtracks with Stereolab producing. It’s truly incredible how brilliantly written these songs are, with boundless changes and melody shifts and hooks weaving in and out. All with a soft orchestration that sounds like every European 60’s film. The lyrics are written about moments in time in small villages, many decades ago – and are never about love. I also find it fascinating that Sean O’Hagan never uses the word “I”, which automatically brings you somewhere different, and makes you feel a part of these fictional places. This isn’t near their most adventurous pieces, but it’s most appropriate for our show. |
| Birds of a Feather, We Rock Together | Vulfpeck [ feat. Antwaun Stanley] | 2017 | Willis | Contemporary Funk / R&B Soul, Minimalist | A collective rooted with several U. of Michigan alums, based in LA making a fun,modern/sophisticated blend of funk-soul. They once raised $20k in Spotify royalties by releasing an album called Sleepify of silent tracks for fans to stream on repeat all night. This funded a 6-city tour with free admission. Alicia heard the funky “Back Pocket” and we were both intrigued by the cold German-sounding name with overt soul and positive energy. This song is way more downtempo than most of their work, but shows their dynamic expertise and sweet vocals that are top notch IMHO for a baritone. A strong consideration to watch live: Oct 16,17 @ The Greek Theatre | Jeez dude – how has this not been in my sights for so long? The production is genius, esp in good headphones. The drums cloak like a horse’s hooves, which sounds almost hypnotic. The vocals kinda compete with the snare (hooves), but the mix separates them beautifully. There is a slight “Taxi” feel to the hammond (or whatever keyboard they’re using) and the wah wah’d guitars. Infectious. Gets better as it goes. Minimalist, but not lacking for energy, and the instruments fill a lot of space. |
| Why Can’t We Live Together | Timmy Thomas | 1972 | Gregg | Minimalist /Soul /Dub | Very good match vocally to previous song.I had never heard of Timmy Thomas before. This latin drum loop predates the Roland 808… Casio-tone is exactly what I thought of also, except neither of those produced realistic sounding percussion like this. So live makes sense. The organ notes are masterfully played – with attack and abrupt cutoff that feel like either tense anxiety, or unbridled groove… choose your own adventure. | Has there ever been a song like this, before or after? It seems ludicrous that a simple drum loop (which sounds like a preset on a casio keyboard, but is actually played acoustically/live) with a loosely played pipe organ and some random groovy bass would provide more than enough for a soulful voice to sing over. Knowing the fatigue I get listening to modern pop music, it boggles my mind that a song like this could become a nationwide smash hit in 1972. Could you imagine this next to Drake, Sabrina Carpenter or Katy Perry nowadays? Lol. It’s a work of minimalist art. And so f’n badass. |
| Shadows, Pt. 2 | Blue Man Group | 2003 | Willis | Alt / Electronic Rock | Inspired by Vegas show. It is so visual, physical and clown-like. It’s a lot to absorb live and the music must share the stage, yet their percussion and musicality is on another level. So I think just listening is an experience in itself. Features vocals by Tracy Bonham and turntablism by Rob Swift of X-Ecutioners. I wish it were developed as a song even further, but it’s a cool vibe regardless. | This all came back around so nicely! Piggybacking with the prior song, it feels like the Wizard of Oz when it went from B&W to Color! I’m very familiar with BMG, but I don’t think I’ve heard this one. In fact, I’ve probably only heard 10% of their catalog. But seeing them live was one of the cooler things I’ve experienced on (off)Broadway. The musicianship is so high level, it’s almost sinful that their “schtick” overshadows their skill. |
| Zeus | Midnight Magic | 2026 | Gregg | Electronic /Kraut /Neo Disco | I immediately love this. I absolutely hear LCD and Juan Maclean, with roots from The Human League but really it’s that female vocals in the Disco style. The bassline is trancey, yet the spacey disco groove is so uplifting. It would be cool to dance to them live. | When this song first played on the air, I had to check & see if it was The Juan Maclean. It could also sound like LCD Soundsystem and Kraftwerk (and Moroder). But it’s luscious just the same. It’s repetitive in a way that lulls you into a zone. Almost like when you’re on a moving surface, and not thinking how when you step off, you might need to keep running or else you’ll fall over. But you’re too ‘in the zone’ to think about anything else. This borders on relentless, but in the best way possible (for me). The oscillating synth sounds are so soothing to my ears. |
Follow these links to listen to these songs (without us talking) on the following platforms: