I was in "college radio" at the start of the '90s, when "alternative" began to become the buzzword of the industry. And it's been a while since I heard a truly "alternative" album Shelley's "do it yourself" attitude recording most of the disc in his New York apartment has a freshness about it that is sorely lacking in so many commercial "alternative" albums.
Blasting through 12 songs in about 35 minutes, Shelley shames some of the pretenders to the throne. Of course, Shelley has some natural advantages on his side - not the least of which is a rhythm section which includes Dennis Diken from The Smithereens. First and foremost, Shelley has a twisted sense of humor - not necessarily a must in the field of alternative music, but something which sure is helpful in the songwriting department.
Likewise, "Dear Mr. Webster" is a keeper on this disc, as our hero pens a letter to the "author" of the dictionary, chiding him for forgetting to include a word which describes the girl he pines for. There is not a moment on I Blame You which sags from any kind of weakness.
Even the light kick towards country "Don't Fence Me Out" , the brief instrumental break "Rollo" and the songs about young love "Mix Tape" only serve to build up this disc's strengths. Shelley truly is a breath of fresh air, and these songs are like oxygen which fuels Shelley's creative fire.
I Blame You is the kind of disc which is almost guaranteed to become an underground success - but in keeping with the spirit of alternative music, wouldn't it be something if the people who flip for this disc shared the experience with their friends, and got them into Shelley and his music? Consider this my small part in the process; I Blame You is an album that you have to experience. Here's hoping Shelley becomes a bonafide star; he deserves it. Michael Shelley's ability to craft witty, unassuming pop songs has developed nicely over the course of two solo albums and a side project.
While in the past he's occasionally experienced problems balancing cleverness with tunefulness, he's never sounded stronger than he does on I Blame You. Blame's song titles "Don't Fence Me Out," "Let's Fall In Hate" suggest that Shelley has surrendered to one side of that equation, but the songs themselves tell a different story. There's a faint air of menace in the way the guitar line of the otherwise sunny "Favorite Graduate" echoes "Don't Fear The Reaper," while the horn section of "Nine Lives" suggests time spent with the recent Stax box set.
On the whole, however, the tone of Shelley's songs--endearing but not cloying--sets I Blame You apart, making it another fine recording from one of the most reliably entertaining singer-songwriters around.
This is Michael Shelley's fourth release and true to his talents, we find him continuing his mercurial and quirky style in abundance. He has a knack for well crafted songwriting and clever words.
Each song comes equipped with a strong riff that has the listener humming the tune for hours afterwards. Stoop Sale is about a girl getting ready to sell her goods on her stoop: "Some things just can't be sold". Dear Mr. Webster is about having bought this writers book: "Do you sit at night on weekend nights with a pencil sharpened Most of the songs have an interesting sixties bent instrumentally. It's a happy and fun album, similar to Joy Zipper.
Refreshing after so many downer bands have dominated the scene of late i. Radiohead, Sigur Ros, Arab Strap, etc. Shelley has a distinctive sound, but also reminds me a lot of the amazingly almost unknown group Fountains Of Wayne.
And it's not just the vocals but the quirkiness, great hooks, and overall happy-go-lucky track after track.
Webster" finds Shelley looking to have his girl added to the dictionary. The tempo hops along at a pronounced toe-tapping pace that would tire even the fittest.
It seems Shelley has quite a country side to him. The fact that he isn't signed to one of the big boys proves that good music is still being made and not watered down by the industry". Shelley possesses a wry sense of humor but knows how to use it to craft pop-rock songs grounded in observant details, original images and an honest affection for their subjects.
The horn section, Hammond organ and Shelley's Steve Cropper-style guitar give the song a soul-pop feel that fits the lyrical images perfectly. Hughes, South Bend Tribune. All you really need to know is that this album will leave a smile on your face and melodies that will linger in your head for days". Impish, earnest, catchy Webster," who is searching for the means to describe his true love's charm, NYC freeform radio DJ Michael Shelley eludes the proper adjective. Not quite singer-songwriter, not quite power-pop, Shelley is in turns clever, capable and craftsmanlike His romances often seem like schoolboy crushes, the kind that require songs like "Mix Tape" to describe their inception, and "I Blame You" to outline their demise.
Nice, unpretentious pop, with jangly little undertones Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip.
Romantic Evening Sex All Themes. I love that Cheeky Monkey album — is captured some magic. At some point it was decided that the other version from the Glasgow sessions would go on the lp, and this version was abandon. I added the vocals while working in my tiny Brooklyn apartment on the overdubs for the "I Blame You" album. It was mixed by Peter Katis. The kind of song you write alone in your kitchen. Before being recorded it never got the benefit of being played live — big mistake.
I think once the album came out I listened to it maybe once, and not even all the way through. At a break in our tour we booked a 2 or 3??? The drums were done in the Living room. We had a really hard time deciding which version to put on the album. I think the acoustic bass on the other version is what put it over the top — but a lot of people like this version better. It was previously released as a bonus track on the Japanese release of "Too Many Movies".
Vic owns an amazing winery now called Vine On The Marycrest that names all the wines after songs. It was previously released on a cd that came with Vol. I think I was influenced by Chris Issac at the time. Laura Cantrell did a lovely version of this. The rest was added in my Brooklyn living room.
I had lyrics for this, but it just worked better as an instrumental. Last I checked it was an all Spanish station. The call-in portions of the Hip-Hop shows were amazing, and I often used to tape them. She also released the song as a single. The following week the song dropped out of the top 40 to 42, making it Goodrem's second least successful single, after her debut single "I Don't Care" which peaked at 64 in The 29 spot drop was the fifth biggest drop within the top 50 of this decade, after Psycho Teddy's "Psycho Teddy" No.
It also dropped from the number one spot in the Physical Singles Chart to From Wikipedia, the free encyclopedia. Boston Herald.Michael Shelley's sophomore effort maintains the high level of songwriting which made his previous work so engaging; slice-of-life tunes like "Lisa Marie," "Sluggo" and "Summer, I Pissed You Away" are informed with genuine wit and insight, well served by Shelley's earnest vocals.8/