Recommended Albums #121

The Proclaimers: Sunshine On Leith (1988)

Perhaps no album has gone from being so ignored on its release to ultimately meaning so much to so many.

Sunshine On Leith was the Proclaimers’ second album and first to incorporate a full-band sound. Although their debut LP This is the Story had a quirky folk-punk charm, fleshing out the arrangements of twin brothers Craig and Charlie Reid’s ardent pop anthems only deepened their emotional resonance.

Also, the tunes were straight bangers.

It’s been said the brothers Reid felt something special happening during the recording of Leith. The album, named after the town of their birth, is bursting with odes to home, family, new love, fatherhood and national pride. Its joys and sorrows are as contagious as its melodies.

“I’m Gonna Be (500 Miles)” was, of course, the song that put the duo on the map, becoming a fluke hit five years after its first release thanks to its inclusion in the Johnny Depp movie Benny and Joon.

Unfortunately, it pegged them as a one-hit wonder in the States and likely did their reputation as much damage as good.

“Cap in Hand” sees Craig and Charlie proclaiming support for Scottish independence, while couplets like “I can tell the difference ‘tween margarine and butter/I can say ‘Saskatchewan’ without starting to stutter” pull off the trick of taking a political stance while keeping the mood light.

“Then I Met You” boasts a couple scorching guitar solos that make it a highlight of live performances.

Ballad “My Old Friend the Blues”, a cover of a song from Steve Earle’s 1986 debut, showcases the harmonies that had people comparing the Proclaimers to the Everly Brothers–fitting since the album’s producer Pete Wingfield had actually previously worked with the Everlys.

Four songs in, having already delivered a greater variety of moods and messages than some artists ever manage, Sunshine On Leith is just getting started.

“Sean”, written about Charlie’s newborn son, contains some moving ruminations on fatherhood:

From parents smart and strong to both of us passed on/From kings is where you come, through daughters and through sons…

And: Though fear and hurt and care can lead me to despair/I saw why I’m here the morning you appeared…

And: Sean, I sat a while on clouds to ask God if he’s living/I should have spent some time on knees in thanks for what He’s given…

Indeed.

The gorgeous “Sunshine On Leith” has become part of the Scottish cultural tapestry. People play it at funerals. The Hibernian football club has adopted it as their unofficial anthem. It’s a heart-tugging tribute to Craig and Charlie Reid’s hometown, but Leith has had to share the song because there’s so much love in those few short verses that everyone wants a share:

While I’m worth my room on this earth, I will be with you/While the Chief puts sunshine on Leith/I’ll thank Him for His work/And your birth, and my birth…

It’s incredibly moving–almost surreal–to hear a stadium full of people singing those words.

The bouncy “I’m On My Way” may be familiar due to its inclusion in Disney’s Shrek. It’s as contagious as “I’m Gonna Be…” but not as tired.

“What Do You Do”, like “Cap in Hand”, explores feelings of Scottish nationalism, but with a decidedly more somber tone–no chucklesome couplets here:

I spent too long on this road/Looking for the answers/But poverty and failure/Aren’t what I’m after/I painted “Fight” on factories/But they closed the factory down pal/Gonna find out where their heart’s gone/Gonna find out where their nerve’s gone…

What do you do when democracy’s all through/What do you do when minority means you…

With a new album coming out in 2026, the Proclaimers have never gone away. While over the years this album or that has been hailed as a “resurgence” or “return to form”, the truth is they’ve never stopped writing, recording and performing great songs.

Still, Sunshine On Leith is their most perfect moment.

You can probably skip: “I’m Gonna Be (500 Miles”

Listen to: “Cap in Hand”

Listen to: “Then I Met You”

Listen to: “My Old Friend the Blues”

Listen to: “Sean”

Listen to: “Sunshine On Leith”

Listen to: “I’m On My Way”

Listen to: “What Do You Do”

See also: Songs You May Have Missed #600 | Every Moment Has A Song

See also: Songs You May Have Missed #750 | Every Moment Has A Song

Recommended Albums #120

Fountains of Wayne: Traffic and Weather (2007)

For a band that only recorded 5 official studio albums and one collection of rarities, Fountains of Wayne certainly made an impact among the power pop and geek rock crowd, who know the quality of the songs Chris Collingwood and Adam Schlesinger produced.

Only trouble is, concise, clever, wryly observational lyrics and harmony-layered earworms aren’t prized by the masses like angst-filled bellowing, flirtsy dance pop or beer-soaked, cliched-for-your-safety country fare.

It’s a central tenet of my appreciation of FOW that “Stacy’s Mom” was not exactly the strongest brand ambassador for the band. With this and other posts (see links below) we hope to remedy that a little.

The specificity of detail in a FOW lyric is arresting. When fledgling songwriters are told to avoid tired, cliched phrases, they should be made to listen to the work of Schlesinger and Collingwood, whose lyrics are the opposite of cliche.

It’s a trait they share with Weezer’s Rivers Cuomo, who also continues to write great original melodies in an era when they have all the apparent appeal of a barbershop quartet or Bach minuet.

FOW’s eye for resonant lyrical detail pulled you into the story songs. Perhaps then it wasn’t surprising that Schlesinger made his mark on the theater stage as well: he co-wrote the songs for the stage adaptation of the film Cry Baby (which debuted the year of this album’s release) and other musicals as well.

The narrative lyric was a band strength.

To this listener’s ears, Fountains of Wayne were (Adam Schlesinger succumbed to COVID in April of 2020) the best of the latter day purveyors of power pop, the pop rock sound that descended from the Raspberries, Badfinger, etc.

But like the best pitchers, FOW weren’t working with just one pitch. The change up–their ability to turn in a heart-tugging ballad such as “I-95”–set them apart from lesser one-trick artists.

Collingwood and Schlesinger didn’t feel constrained to match lyrics to the mood of the music, either. Sometimes downer lyrics graced an ebullient arrangement a la ABBA.

Conversely songs like “Halley’s Waitress” (from 2003’s Welcome Interstate Managers) are musically somber with a witty lyric.

These juxtapositions give their songs dimension. It’s as if they found and revealed the joy amid life’s struggle, and the poignancy in a light-hearted situation. Cause life is like that.

Listen to: “Someone to Love”

Listen to: “This Better Be Good”

Listen to: “I-95”

Listen to: “The Hotel Majestic”

Listen to: “New Routine”

See also: Songs You May Have Missed #75 | Every Moment Has A Song

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Recommended Albums #119

MC Hawking: A Brief History of Rhyme: MC Hawking’s Greatest Hits (2004)

This blog celebrates wide ranging musical endeavors, from the sublime to the ridiculous. And we’ve given plenty of attention to the sublime lately, so…

Nerdcore rapper and web developer Ken Lawrence a.k.a. MC Hawking rose to internet prominence in the early 2000’s with mp3’s, released through his website, that employed a gangsta-rappified persona of physicist Stephen Hawking.

His songs proved so popular Lawrence was signed to a record deal and A Brief History of Rhyme: MC Hawking’s Greatest Hits was the result.

Creationists and MIT rival scientists serve as the arch villains here rather than cops and rival rappers. But Lawrence synthesizes the worlds of gangsta rap and hard science as effectively as he synthesizes the voice of Hawking–achieved by use of the text-to-speech program Willow Talk.

Backed by the beats of DJ Doomsday (also Lawrence, using samples, midi compositions and loops available royalty-free) MC Hawking imparts a fair amount of actual scientific theory within spot-on rap parodies.

“Big Bizang” takes on the Big Bang. “E=MC Hawking” deals with the theory of relativity. “Entropy” explains thermodynamics. And “Fuck the Creationists” weighs in on the Creation vs Evolution debate.

If this extremely well-executed collision of two disparate worlds could be described in a word, that word–fittingly–would be “genius”.

Lawrence returned a decade later with “Fear of a Black Hole”, which was performed at the 2016 Starmus Festival with Brian May, Richard Dawkins and the real Stephen Hawking in attendance.

It seems Hawking’s energy can never be destroyed.

Listen to: “The Hawkman Cometh”

Listen to: “Big Bizang”

Listen to: “Entropy”

Listen to: “Bitchslap”

Listen to: “Fuck the Creationists”

Listen to: “All My Shootings Be Drivebys”

Listen to: “What We Need More of is Science”

Recommended Albums #118

Greeicy: La Carta (2022)

Quoting her Amazon.com artist bio:

Greeicy is the professional name of Colombian pop singer, songwriter, and actress Greeicy Rendon, whose sound melds cumbia, Latin pop, tropical, and urban styles. Her sultry, always supremely melodic alto adds dimension and warmth to even the grittiest urbano jams.

It’s the “melodic” in that descriptions that brings her here, melody being a primary qualifying filter for us–above era, genre and even language.

And the addictive rhythms don’t hurt either.

Listen to: “Te Creí”

Lyric translation: greeicy te crei lyrics – Search

Listen to: “Lejos Conmigo “

Lyric translation: lejos conmigo lyrics – Search

Listen to: “Una Aventura’

Lyric translation: greeicy una aventura lyrics – Search

See also: Songs You May Have Missed #795 | Every Moment Has A Song

Recommended Albums #117

Robbie Fulks: Revenge! (2007)

Countercountry singer/songwriter/wiseass Robbie Fulks is an unconventional guy. And Revenge! is a typically unconventional live album.

The double-length CD package is divided into discs labeled “Standing” and “Sitting”. The first, with opening cut “We’re On the Road” setting up the premise of the live album in amusing fashion, features full electric performances from his long-serving live band, who rival Lyle Lovett’s for tight, high-energy performance and virtuosity.

The “Sitting” disc features a more stripped-down, acoustic set.

In both settings, the musicianship, both of Fulks and bandmates, is evident, as is the humor.

But the humor and the jaw-dropping guitar skills are only half the story: it happens that when it comes to songcraft there are few better, as many previous posts on this blog have shown.

If you learned Robbie Fulks grew up with a guitar-playing dad and an autoharp-playing mum it’d make sense. It’s just a bonus to hear he had an Aunt Mildred who played violin and an Aunt Stella who played banjo. I mean, really?

Young Robbie clearly absorbed plenty.

Fulks has backed Steve Martin on tour and on the Tonight Show. He’s recorded with Tim O’Brian. His bluegrass credentials are undeniable.

But he’s never felt constrained by genre. “Let’s Kill Saturday Night” is more Steve Earle than Bill Monroe. “That Bangle Girl” is hardly a banjo and mandolin workout. Fulks released an album of Michael Jackson/Jackson Five covers in 2010 that’s more pop and R&B than country and bluegrass.

2025’s Now and Then, which Fulks has described as “post-stylistic”, owes little to bluegrass or even traditional country.

And “Fountains of Wayne Hotline” shows his chops in the realm of parody, nailing the sound (and the formula) of that band brilliantly, not to mention being one of the funniest things I’ve ever heard, frankly.

If you like your music neatly categorized and you prefer artists to stay tightly locked in musical boxes, Robbie Fulks may confound you.

But if his mood-swinging, bi-polar, genre-hopping musical excursions keep fans on their toes, his consistently fine writing makes him an artist always worthy of attention.

But hey–enough of my yackin’. What do you say? Let’s Boogie!

Listen to: “We’re On the Road”

Listen to: “Cigarette State”

Listen to: “Let’s Kill Saturday Night”

Listen to: “I Like Being Left Alone”

Listen to: “Bluebirds Are Singing For Me”

See also: Video of the Week: Robbie Fulks–Bluebirds are Singing for Me | Every Moment Has A Song

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See also: Video of the Week: Robbie Fulks–Cigarette State | Every Moment Has A Song

Recommended Albums #116

Matt Duncan: Soft Times (2013)

Matt Duncan, who calls himself “the Elvis of self-doubt”, is a purveyor of tuneful soft rock that sounds like it ought to be playing from an AM transistor radio.

In a good way.

Though actual 70’s pop spanned a single decade, in the four-plus decades since we’ve been hearing people try to approximate its magic.

And though plenty of contemporary artists catch interest for their retro 70’s musical dialect, seldom does their mere facsimile of sound actually summon the aura of that decade.

Maybe the secret is to not try too hard.

Duncan acknowledges his first LP Beacon lived in the 60’s, and that his sound moved onward one decade for this, his second.

But while he cites Steely Dan and Joni Mitchell among others as influences, his music is never mimicry. Did you hear an Atlanta Rhythm Section groove in “The Keys”? A little Van Morrison in the horns on “Idle Hands”? The influences are hard to pin down because it’s all more evocative than derivative.

Duncan just tastefully employs a variety of elements: soulful violins, sax, scratch guitar, and harmony vocals span the album. He arranges with lots of pauses, breakdowns and tempo changes, ensuring that “mellow” never becomes “dull”. And it’s all done with an impressive overall gloss and sophistication.

Lyrically, Duncan avoids cliche territory completely, and a barbed line here or there is a pleasant surprise.

One might call this lightweight stuff, but so were Hall & Oates after 1980. Not everything has to be “Kashmir”.

Soft Times feels like a pleasant escape back to 1977 and a brief respite from our own hard times.

Listen to: “The Keys”

Listen to: “Rube Goldberg Machine”

Listen to: “Soft Times”

Listen to: “I Don’t Know”

Listen to: “Idle Hands”

Listen to: “Lone Ranger”

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