Genre: Pop Release: May 11, 2022 Song Length: 1 song, 3 minutes

Genre: Alternative Release: May 11, 2022 Song Length: 1 song, 3 minutes

Genre: Pop Release: May 5, 2022 Song Length: 1 song, 2 minutes

Genre: Alternative Release: May 11, 2022 Song Length: 1 song, 4 minutes

Genre: Pop Release: May 6, 2022 Song Length: 1 song, 3 minutes

Genre: Pop Release: May 11, 2022 Song Length: 1 song, 3 minutes

Genre: Pop Release: May 6, 2022 Song Length: 2 songs, 6 minutes

Genre: Alternative Release: May 7, 2022 Song Length: 1 song, 4 minutes

Genre: Pop Release: May 11, 2022 Song Length: 1 song, 3 minutes

We run down the colossal and breathtaking works by the genuinely excellent artist Elton John as he is our Artist Of The Month. Collaborating with lyricist Bernie Taupin since 1967, John is one of the most successful artists of all time, having sold over 300 million records in a six-decade career in music. We will run down four albums every post and go through his incredible catalogue. Enjoy! The Big Picture (1997) 1997's "The Big Picture" finds Elton in solid form, turning in another great set of, by now, predictable collection of ballads and pop songs designed to appeal to the adult contemporary audience. "The Big Picture" retains that large-scale production feel, but it takes a much more stripped-down approach when it comes to the music, unlike the overblown predecessor "Made in England," which really brings out the beauty of the songs and their theatricality. There may be nothing new on "The Big Picture," but it's well-crafted professional pop, demonstrating John's knack for catchy pop hooks and his way with a ballad. As with any latter-day John album, hits like "Something About the Way You Look Tonight" are balanced out by some filler. Still, the key to the album is how album tracks like "Recover Your Soul," "If the River Can Bend," and "The Big Picture" carry emotional and melodic weight. It's a solid effort from one of pop's most reliable artists. Songs From The West Coast (2001) It was easy to think that Elton wasn't interested in writing like 2001's "Songs From the West Coast" anymore, given his continued success and the ease with which he was crafting pleasant adult contemporary records. There are still elements of that on "Songs From the West Coast" -- a few of the ballads are a little too even-handed, and since this is a modern recording, it lacks the resonant warmth of such classics as "Honky Chateau" and "Tumbleweed Connection." Still, this is the richest, best record he's released in a long time, an album where it feels like a hit single is secondary to the sheer pleasure of craft, whether it's crafting a song or an album. And this is an album that flows easily and naturally, setting the mood with the story sketch "The Emperor's New Clothes" and then heading in several scenic directions. "American Triangle," his elegy for Matthew Shepard, will likely receive the most attention. Still, the most interesting are songs like the bluesy "The Wasteland," "Ballad of the Boy in the Red Shoes," which recalls the Tumbleweed epics, the neo-Captain Fantastic tune "Dark Diamond," the soulful closer "This Train Don't Stop There Anymore," and "Birds," a terrific, spare, rolling country-rocker. His songwriting hasn't been this diverse or consistent since the early '80s, and he hasn't made a record better than this in years. Peachtree Road (2004) 2004's "Peachtree Road" enforces that Elton is back to making good, solid albums that are focused on songs, not hits; the way he did at the outset of his career, building upon the shift he had made back into his classic sound with previous album "Songs From the West Coast." Since this is an album by a veteran, not an artist on the rise, it doesn't have the sense of discovery, or the hunger, that the early records still retain and the production. This means "Peachtree Road" is about craft, both in the writing and recording, which also means that it's a grower, with each song sounding stronger and better with each spin. While the record's sound is bright and polished, this album makes few concessions to radio: this is undoubtedly adult pop, but it never panders to adult contemporary radio. The music is a little too rugged and sturdy to fit alongside the stubbornly sweet sounds of 21st century MOR. This is precisely the point: Elton has consciously returned to the reflective singer/songwriter template of the early '70s, both in his writing and production. Peachtree Road is full of beautiful tracks that really throw us back to the years of classic Elton; "Weight of the World," "Porch Swing in Tupelo," "Answer in the Sky," "Turn the Lights Off When You Leave," "My Elusive Drug," "They Call Her The Cat," and "All That I'm Allowed." The Captain And The Kid (2006) Elton was indeed making music for himself, and he proved that time and time again since 2001's "Songs From The West Coast" and 2006's "The Captain and the Kid" were perfect models of this bold statement. It takes courage for any major artist to acknowledge that their latter-day work simply is not up to scratch compared to their greatest works, but minimal attempt to resurrect those glory years and different eras in modern pop and recording. Elton pulls it off immaculately. "The Captain and the Kid" were intended as somewhat of a sequel piece to 1975's autobiographical "Captain Fantastic and the Brown Dirt Cowboy;" this album harnesses the same energy that made the former so timeless and conveys it into some of the most mature and energized songs in Elton's repertoire, as well as some of the most emotionally and politically, informed lyrics ever penned by Bernie. Each and every track is a wonderful page to an already legendary career; every track is beautifully structured and performed wonderfully.

We run down the colossal and breathtaking works by the genuinely excellent artist Elton John as he is our Artist Of The Month. Collaborating with lyricist Bernie Taupin since 1967, John is one of the most successful artists of all time, having sold over 300 million records in a six-decade career in music. We will run down four albums every post and go through his incredible catalogue. Enjoy! Reg Strikes Back (1988) After Elton John released his contract-fulfilling album "Leather Jackets" in 1986, his first album not to have any top 40 singles since the 1970s. Elton struck back, if you will, with his first album for MCA Records and a nostalgic trip back to the glory years with 1988's "Reg Strikes Back." Although the album received considerable hype upon its release, with the usual world tour planned, it simply did not live up to the 80s albums that he had done with Geffen Records. The singles are entertaining at best; "I Don't Wanna Go On With You Like That" and "A Word in Spanish," but the sound of the tracks here seems a little forced, as if Elton was determined to go for a classic sound without effectively pulling it off. Reg Strikes Back is sadly one of the Elton albums taken up by filler, without any tracks to make for a memorable listen. "Mona Lisa's and Mad Hatters Pt. 2" emphasize the unnecessary image this record has. I actually forget this one exists between "Leather Jackets" and "Sleeping with the Past." Sleeping With The Past (1989) Many fans and critics would call 1983's "Too Low For Zero" Elton's best and most beloved album of the 80s; however, it can be argued that 1989's "Sleeping with the Past" is a close second to that title. In "Sleeping with the Past," Elton finally appears confident and mature enough to have a mind that nods to the soulful rock of his golden era while firmly grasping the new wave sounds that still made him a modern pop icon. "Sleeping with the Past" is full of the sentimental, dynamic songs that we all cherish Elton for, and here they teem with honesty and existential significance and relevance that we have not heard since 1976's "Blue Moves" album. This is evident in songs such as "Durban Deep," "Healing Hands," "Whispers," and "Club at the End of the Street," as well as the classic title track birthing one of his most compelling songs. The hit single "Sacrifice" amazingly became his first-ever number one hit in the UK and foreshadowed the maturer sound Elton would explore throughout the coming decade. The One (1992) Elton had emerged out of the new wave, a synth-drenched blitz of his 80's era, with his first album of the new decade, 1992's "The One." Elton claimed that he finally had perfect recollection of making an album because his mind was not clouded by drugs or alcohol. There is no reason to doubt this claim, as there is an immediate sound of renewed focus and energy on "The One." The album shines with a large scale of instrumental and synth overdubs, which all tastefully contribute to the atmosphere of what can be hailed as some of his best studio performances, simply put, Elton radiates more of his bombastic character than he had done on his 80's albums, which is deliberately measured by the mature songcraft of Elton and Bernie. Beautiful tracks like "Simple Life," "The One," and "Whitewash County" easily rank among some of Elton's most powerful latter-day work, and his bluesy duet with Eric Clapton on "Runaway Train" works perfectly. The album only falls short with filler tracks like "Suit of Wolves," "Last Day," and "Fat Girls and Ugly Boys." Elton and Bernie's songwriting would only improve during the 90s, demonstrated by the follow-up work of the Lion King soundtrack, and the tribute to Princess Diana. Made In England (1995) Many critics and fans consider Elton's 1995 effort "Made in England" to rank among some of his best albums. No one can deny Elton's stellar performance, nor the fantastic production of the whole album, turning it into more of a theatrical stage piece than a pop record. However, I feel that the work is weighed down by the very thing it was praised for; its overblown instrumental arrangements, the mix of musical styles, and the large-scale production. Not just that, but Elton seems to be more conscious of making songs that hold some social or cultural meaning instead of art for art's sake, which undermines the singer's approach to songcraft for the previous twenty-five years. That being said, there is still much to enjoy once in a while on Made in England; his worldwide success with his contribution to Disney's The Lion King; "Can You Feel The Love Tonight," "Circle of Life" influenced him to carry on these soulful, gospel-tinged sparks on such lovely songs as "House," "Cold," "Man," "Please,"

Multiplatinum-selling band DNCE released their brand new dance party-perfect single “Moves” via Republic Records. The 32-year-old performer joined Peloton instructor Olivia Amato for an episode of “On the Leaderboard with Peloton,” He teased his new music from his band DNCE. He then belted out some classic kids' tunes while running, singing a couple of verses from “Twinkle, Twinkle Little Star” and “If You’re Happy and You Know It.” He also sang a brief snippet from DNCE’s new song, “Move.” “I just wanted people to feel like you’re out somewhere having a good time … the hopeful plan of when we can be back in that headspace… physically, mentally … so we wrote the song kind of about that,” he said of the new single. Though DNCE hasn’t released music that’s 100% their own since 2018’s four-track EP "People to People," they recently appeared on Kygo’s “Dancing Feet.” In between those two projects, the group took time off while Jonas went back to work with his brothers Nick and Kevin in the Jonas Brothers. They’re now fully ushering in their next era, with Joe’s wife, actress Sophie Turner, joining him for a funny video promoting “Move.” Jonas formed DNCE — a funky dance-rock group — in 2015 with drummer Jack Lawless and guitarist JinJoo Lee while the Jonas Brothers were temporarily kaput. Both musicians had toured with the Brothers in the past. After being introduced to bassist Cole Whittle by pop songwriter Justin Tranter (the pair had been in glam-pop band Semi-Precious Weapons together), the quartet created a series of deliciously fun pop jams like “Kissing Strangers” and “Cake by the Ocean,” which became a massive hit.

Andy Grammer has dropped a brand new single entitled “Save My Life,” which he performs with the band R3HAB. If you asked Andy Grammer who had the biggest impact on his life, he’d point to his godmother, Leigh. Because of that, he’s dedicating his new single “Saved My Life” music video to her because she inspired the song. “‘Saved My Life’ is about Leigh, my Godmother. She was my mom’s best friend. After my mom’s passing, she super showed up,” Andy revealed on Instagram. Andy was only 25 when he lost his mother, Kathy Grammer, to breast cancer in 2009. “Our loss was so tremendous,” Leigh said of losing her best friend and how Andy, in turn, saved her. “[She] was such a big, huge part of both our lives. ”The “Keep Your Head Up” singer told Leigh he not only wants her to appear in the music video, but he hopes to inspire his fan base to also shout out the individuals who changed their lives for the better. In addition, starting this July, Andy Grammer and Fitz & The Tantrums are going on tour together. The “Handclap” singers and Andy unveiled their official, multi-date summer tour, dubbed "The Wrong Party Tour." It kicks off on July 29 in Key West, Florida. The group will co-headline a slate of shows across North America’s biggest cities, including Boston, New York, St. Paul and many others. The tour wraps on August 27 in Los Angeles, California. Said Andy of the upcoming event, “I am SOOO excited to announce that I’m going on tour this Summer with @fitzandthetantrums and @breland! You already KNOW it’s going to be a blast.”

Canadian singer Carly Rae Jepsen is back with some new music as she debuted her new single, “Western Wild." This past week, the "Party For One" singer reposted fan photos of a billboard teasing something titled "Western Wind" alongside a phone number, which connects callers with a message from Jepsen confirming new music is on the way. "Hello, you've reached the Carly Rae Jepsen hotline," says the 36-year-old musician in a pre-recorded audio clip, which can be heard by calling 213-732-3275. "Text me here to stay in the loop about all kinds of things: new music, tour, secrets that I haven't even come up with yet, nudes… No, wait, there will be no nudes. Sorry, but there will be music for sure." To accompany the teaser and cheeky voicemail message, Jepsen updated her profile photos across social media and posted a new promotional image of herself on Instagram along with the caption, "First bloom…." The California map is quite timely, as the "Run Away with Me" recently performed the new single at the 2022 Coachella Valley Music and Arts Festival on April 15. If "The new track will mark Jepsen's first release since 2020's one-off single "Me and the Boys in the Band" and her most recent full-length project, "Dedicated Side B," which dropped the same year. In September 2021, Jepsen celebrated the 10th anniversary of her inescapable, Diamond-certified breakthrough hit, "Call Me Maybe," by recreating the single cover in a new photoshoot. "Call Me Maybe" achieved significant mainstream popularity; the song was the best-selling single of that year, reaching number one in 18 countries. As a result, she was signed to a joint worldwide record deal with School Boy Records and Interscope Records.

Matt Simons has a unique ability to reach a global audience, with an accessible sound that still feels personal to each of his fans worldwide. He has released his fourth studio album entitled "Identity Crisis" via [PIAS] Recordings Holland. Offering a wide range of styles, while all tied together with Simons’ unique pop sensibility, the ten-track collection features some of his recent hit singles, including "Better Tomorrow," "Cold," and the album’s title track. The latest preview of the release comes from "In Case You Missed It." Teaming up again with "Better Tomorrow" producer Hampus Lindvall (Zara Larsson, Icona Pop, Sigala) and long-time friend Chris Ayer. The single covers familiar themes in Simons’ refreshingly honest songwriting. The songwriter says: “It’s about the dance people have to do when exploring a new relationship. Are they not responding to messages because they are going through something that demands their attention, or are they not that into you?” Matt will support the album release with an extensive tour supporting classical crossover titans 2Cellos, who embark on their last ever tour of the US and Europe. Hitting some of the world’s biggest arena venues from L.A. to Paris, London to Berlin and many cities in between, this is the biggest tour Matt has undertaken to date. Simons grew up in Palo Alto, California as the grandson of two opera singers, a story of humble beginnings. With four full albums, three EPs, and 17 charting singles since his self-released debut, "Pieces," in 2012, Simons is an unassuming, natural performer and shares himself confidently and gently captivating the crowd with his authentic persona.

Belle and Sebastian have released their new album, entitled "A Bit of Previous," a slight nod to Stuart Murdoch’s belief in reincarnation; it is their ninth studio album and their first released in 7 years. Due to the pandemic, they were forced to forgo a trip to the states, and so this is the first one that they recorded in Glasgow since their 1999 release, "Fold Your Hands Child." It afforded them the leisure to enjoy and relish the process, and the songs on this album deal, more than on any other album, with the theme of aging. An exciting turn because Belle and Sebastian have always been a band who champions the youth. But their love for the young is still there, to be sure. Like in the fiddle-laden opener, “Young and Stupid,” whose melodies recall some of their earlier work. Or the jazzy “Come On Home,” where they deal with youth and age in one go. Like much of their previous work, they know how to sing about love so that it doesn’t make you cringe but smile with surprise and create eternally re-playable music. There’s not a dud in the bunch. It is a record that could appeal to all ages, with its timeless music drawing so much from the pantheon of music before them. Even with its sobering moments, like “Sea of Sorrow” or the becoming-age-appropriate “Deathbed of My Dreams.” Heading into their third decade as a band, Belle and Sebastian’s self-aware embrace of their status as both elder statespeople of indie rock and a burgeoning legacy act is just as endearing as their self-consciousness about their rise to fame on early songs like “Seymour Stein” and “This Is Just a Modern Rock Song.” And "A Bit of Previous" manages to balance celebrating the group’s familiar sound and proving that they still have something to say.

It's been six years since the last LP, "Taking One For The Team" – Simple Plan makes their long-awaited return with their new album, "Harder Than It Looks," the Canadian pop punks’ first album without major label backing. The year 2022 may be more interested in those solo artists – Machine Gun Kelly, jxdn, YUNGBLUD – who blend the classic pop-punk sound with hip-hop and Gen Z-isms, but that’s not deterred the Montreal natives from sticking to what they do best: dishing out nostalgic pop-punk packed full of charm and heart. There’s plenty of emotion on Harder Than It Looks, something evidenced by world-weary opener "Wake Me Up (When This Nightmare’s Over)" and recent single "Ruin My Life" – which features Sum 41’s Deryck Whibley – and The Antidote. The latter is the pick of the bunch from the album at large, a song where Simple Plan raises the emotional stakes to their highest and delivers one of the best tracks to which the band has ever put their name. There’s plenty of fun to be had by way of fast-paced pop-punk ripper "Congratulations." At the same time, sports anthem in-the-making Iconic’s euphoric horns are just the right side of cheesy, but Simple Plan brings back the emotional tension for album closer "Two." A despairing ode to the damage divorce wreaks on families, the band’s answer to blink-182’s "Stay Together For The Kids" and a reminder that there’s far more to Simple Plan than the band who did Scooby-Doo soundtrack and That Song You’ve Heard On TikTok. "Harder Than It Looks" is a continuation of a band that’s stayed true to its sound. Simple Plan is aging gracefully, no longer writing songs about teenage angst and rebellion; instead of focusing on the better days to come.

Gearing up for the release of her upcoming album, Emeli Sande has released the latest single from the project titled “Ready To Love,” along with a music video. The song is taken from Emeli’s album, "Let’s Say For Instance," which is set on May 6th alongside tracks such as “Oxygen,” “Family,” “Brighter Days,” and “Look What You’ve Done,” featuring Jaykae. This will serve as her first album in three years and the first project under an independent label Chrysalis Records. There’s a real heart-warming, and authentic feeling on this one as Emeli uses her powerful vocals to express being ready to open up after experiencing heartbreak. The Scottish singer-songwriter shows the radiant burst of energy you are hit with when you are finally on the other side of the journey we call love. Emeli does an incredible job expressing these feelings through the delivery of her stunning lyrics and vocals. She told Variety about the album, “I'm so proud of this album and can't wait to release it. I've felt free to express myself more naturally both lyrically and musically in this album, and my wish is that it will be an uplifting experience for each listener and that they will get to know me on a much deeper level.” Tim Parry of Big Life Management says, “Emeli is a wonderful artist and has made a brilliant record that all of us at Big Life are extremely proud to be involved with. It has been a pleasure to see her realize her creative vision in such a bold and authentic way with this album and to work with the great team at Chrysalis Records who share our passion for this stunning collection of songs.”

Genre-bending indie rock band Why Not is releasing the final single from their upcoming self-titled album which will be released next Friday, May 13, 2022. It's the full-length follow-up to their "Very Why Not" EP released in February and was produced by Caleb Hinz (Hippo Campus, Samia, Miloe). Why Not is composed by Henry Breen, Isaac Dell, and Joshua MacGregor - is the Minneapolis trio's self-titled mission statement. They are fueled by the tension and uncertainty of the time and the changes in the band's lives- from graduating high school and moving out of their childhood homes to growing into and out of long-term relationships- and coloured by the joy of creating with each other and feeling inspiration in dark times. The band previously released the singles and music videos for "In Love With The Sounds" and "Take A Minute." WHY NOT pivoted from their math rock and punk-informed roots, incorporating various musical influences. The result is a virtuosic, genre-fluid statement from a young band just beginning to harness the heights of their craft. The album follows the release of the band's EP "Very Why Not." The five-track EP is a manic, genre-fluid collection of songs, pure sonic bombast, driven by spontaneity and teeming with the twin joys of creation and friendship. It included the singles "CASKET ft. papa mbye" and "WE CAN BE ALWAYS ft. Lupin." Lupin is Jake Luppen of the band Hippo Campus. "CASKET" grabbed mentions and adds with the best of playlists and round-ups at places like Consequence of Sound, Ones To Watch, and UPROXX plus was also recently featured as song of the day with The Current.

Swedish singer-songwriter Tove Lo gave fans a taste of her forthcoming album with her new single “No One Dies From Love,” along with a music video. The Alaska-directed visual follows Tove Lo — a famous movie star in the video — as she navigates a dystopian, retrofuturistic world after she orders a robot named Annie 3000. The video is spliced with Tove dancing to the Eighties-influenced track before the robot joins the choreography. Tove and the new robot seem to do everything together: play tennis, watch movies (projected by the robot’s hand), and slowly hold hands before falling for each other. (There’s a ton of robot-human makeout seshs involved.) “All the songs on the album are very cinematic, dramatic, and grand, so for the visual story, I want to attach a character to each song,” the Swedish star said in a release. “For ‘No One Dies From Love,’ it’s the classic vulnerable, lonely starlet looking for connection. This mini-movie is a different kind of love story.” By the end of the video, Tove has a new toy to play with as she orders a more realistic robot who speaks named Eva. The old robot, seen bringing Tove a cake, witnesses the interaction and pulls out its heart (?) before bursting into flames. The song follows Lo’s recent guest appearance with Flume at the Coachella festival. It arrives ahead of a string of North American headlining tour dates, including festival appearances at Governors Ball Festival in New York and Bonnaroo in Tennessee, Lollapalooza in Chicago, Float Fest in Texas and Osheaga Music and Arts Festival in Montreal.