Wednesday, January 27, 2010

Phoenix - Wolfgang Amadeus Phoenix



One of the best new artists to break out in 2009, Phoenix have arrived on the scene with their latest release, Wolfgang Amadeus Phoenix. The band from Versailles, France have crafted quite a following in their home country and around Europe, and are just starting to make their presence known here in the United States. With this album, they have crafted a truly dynamic and aesthetically pleasing album that is starting to bring in the masses.

Kicking off the album with a bang, "Listzomania" is perhaps my favorite song off the album and one of the best songs I've heard in the last 5 years. With its highly melodic guitars and lead singer Thomas Mars transcendent vocals leading the charge, this song is a masterpiece from start to finish. "1901" is the album's first single, which you've probably heard in those Cadillac commercials you've probably seen recently on TV. Equally catchy as its predecessor, the song has an insatiable beat you can't help to dance along to and is one of the endless highlights on the album.

The album doesn't stop rolling as "Fences" has a cavalcade of beats in it amongst a flurry of guitars, making you feel like you're in a dance club. "Lasso" has an ample wave of pleasant sounding guitars and a wonderful drum beat, giving the song a Strokes-esque vibe to it. "Rome" has a very ambient and laid back feel to it, adding a little variety to an extremely eclectic album so far. Heading down the homestretch, "Girlfriend" really showcases guitarist Laurent Brancowitz's amazing guitar skills and his ability to adapt his guitar abilities to any song he plays. "Armistice" ties the whole album together with its mix of guitars, thumping bass, and intricate drum beats.

Nominated for a Best Alternative Music Album at this Sunday's Grammy Awards ceremony, Phoenix have definitely earned that nomination and have clearly proven with this album why they're one of the best alternative acts out there, bar none. And they have also displayed their unique ability to capture the essence of the environment around them and translate it into song. A wonderful album from start to finish.

                                                                                                                                Album Score: 4.5/5

Track Listing:
  1. Lisztomania
  2. 1901
  3. Fences
  4. Love Like A Sunset Part 1
  5. Love Like A Sunset Part 2
  6. Lasso
  7. Rome
  8. Countdown
  9. Girlfriend
  10. Armistice

Sunday, January 24, 2010

If I Ran the Grammys

So, the 52nd Annual Grammy Awards are coming up next Sunday and some of you might be thinking as I write this, "Who cares, it's the Grammys!" and you are all right in some way, most people don't really care about the Grammys much anymore and here are some reasons why.

The Grammys were first established back in 1958 and were first televised in 1971 on ABC. Over the years, the list of Grammy winners has yielded some well deserved honors and some head scratching ones (remember when Jethro Tull won the Grammy for Best Hard Rock/Metal Performance?) Lately, the Grammys have represented nothing more than a self-indulgent celebration of a music industry that is on life support due to sagging album sales and changes in the ways we obtain our music, plus a reflection of the musical tastes of the Recording Academy and not the record buying public. This has led to discontent among musicians who feel that the value of the award has been diminished greatly due to overwhelming Academy influence.

I wholeheartedly agree that the Grammys are not as cherished as they once were. They have misrepresented the true winners in some ceremonies and have given undeserved honors to has-been artists and one hit wonders. If I was charge of the Grammys, there would be several changes that I would make that would greatly benefit both the viewing audience and the music buying public. Here are some changes that I would make:

  • Ask the general public who should be nominated and who deserves the award in the first place. The Grammys fierce competitor, The American Music Awards, follows this same exact methodology, so why wouldn't it work for the Grammys also? Conducting a popularity poll with the general public would represent an entire cross-section of the United States, and that alone would be a true representation of what is the best music out there.

  • Modify the eligibility process for receiving a nomination for a particular award field. This past year, it was determined that Lady Gaga was ineligible to receive a nomination for Best New Artist because she had been nominated for a Grammy last year, even though this was her first album. This technicality totally disrupts the honor and merit of the Grammys and thereby robs the artist of an award based on Grammy rules and guidelines, which are severely outdated anyway and need substantial review and updating due to the ever changing musical climate. One rule change that I would make in this instance is that if an artist was nominated in the previous year for an award and it's that artist's first album that establishes their public identity, then that artist should be eligible for the Best New Artist award that year or the next year, plain and simple.

  • Expand the field of nominees from 5 to 10. Year after year, artists who released work in the eligibility year that was deemed to be critically acclaimed upon the general public, was shut out of a particular award category to make room for another artist who released work of a lesser quality or was deemed unworthy of a nomination altogether. Doing this will give all artists a fair shot of receiving an award, and will be a melting pot of sorts representing all genres of music, levels the playing field susbstantially, and gives everyone a fair shot at receiving the award as well.

  • Consolidate the long three hour telecasts this year and cut down on the performances. Every single year, we are inundated with the same old formula where it's award, performance, award, group performance, lifetime achievement award, etc. One solution is to hand out all the prominent award categories in a short, two-hour format with a handful of award presentations and performances in between that gives equal billing time to both parties and enables the ceremony to run in a linear fashion and smoothly as well.
So, these would be the changes that I would make if I was in charge of the Grammys. Any further comments you guys have would be greatly appreciated, just leave your comments right here on the blog! The 52nd Annual Grammy Awards air next Sunday, Jan. 31 at 8PM on CBS!

Wednesday, January 20, 2010

Spoon - Transference



By way of Austin, Texas, Spoon are back with their brand new album, Transference. The follow up to 2007's "Ga Ga Ga Ga Ga" finds the quartet sticking to their original sound that they have perfected over the years and through their vast array of albums they have released over the years, have shown the evolution of a band that makes whatever music they feel like playing and does their own thing.

The album starts off with "Before Destruction", an acoustic laden track that showcases frontman Britt Daniel's strong and distinct vocals permeating throughout the whole song and adding a distinct layer of authenticity to the track. "Is Love Forever?" is a melodic and upbeat number that shows the versatility of songs that they are capable of creating with each and every album that they make. Another example of that bursting of creativity is "The Mystery Zone", another melodic tune with intricate guitar riffs and an excellent drum pattern spread throughout.

The album's first single, "Written In Reverse" is a melodic, piano infused number with Britt's vocals echoing throughout the song with distinct clarity and precision. "I Saw the Light" is a mid-tempo tune that brings down the energy a notch to deliver a song that is ambient and soothing at the same time. Other standout tracks include "Trouble Comes Running" with its standard issue guitar riffs and cooing background vocals, and "Out Go the Lights" with its simple melody and well synced instrumentation.

My favorite song off the album is "Got Nuffin", a mid-tempo number and perhaps the catchiest song on the album with its thumping guitar riffs and pulsating drums making this song stand out on its own, and one you shouldn't be afraid to dance to. One distinct quality that I noticed about this album is towards the end of some of the songs, the song doesn't fade out naturally, but just has a cold ending, meaning the song just stops playing instantly before moving on to the next track. A very unusual method of ending a song, but it's just one of the trademarks that make Spoon so special and unique.

All in all, a well thought out and executed album that continues to show Spoon's growth as a band. While they have been together for quite some time, there's always room for them to grow and experiment with different sounds and arrangements that have never been combined before. The bands that aren't afraid to take chances are those that will get noticed first and will also be around for a little while longer than most other bands.

                                                                                                                               Album Score: 3.5/5

Track Listing:
  1. Before Destruction
  2. Is Love Forever?
  3. The Mystery Zone
  4. Who Makes Your Money
  5. Written In Reverse
  6. I Saw the Light
  7. Trouble Comes Running
  8. Goodnight Laura
  9. Out Go the Lights
  10. Got Nuffin
  11. Nobody Gets Me But You

Monday, January 18, 2010

Internet Radio Station Just Added!

I've just added one of the many enhancements I've made to my blog in the past couple of weeks. I've added an internet radio station from Live365.com with a pre-selected playlist of artists that I listen to on a regular basis. It's located in the far right column on the bottom. Many more enhancements to come, stay tuned!!

Wednesday, January 13, 2010

Vampire Weekend - Contra



New York's highly buzzed about Vampire Weekend are back with their much anticipated sophomore effort, "Contra", The follow up to their critically acclaimed, self-titled 2008 debut, this new effort finds the indie rockers continuing to deliver their blend of African inspired rhythms and classical music in a sound that is unlike anything that has ever been heard before.

The album starts off with "Horchata", a highly melodic, laid-back number with frontman Ezra Koenig's calm, cool vocals lending accompaniment to the African inspired rhythms heard throughout the song. "Holiday" is an upbeat, funky number that is guaranteed to make you want to get up and dance with its rhythmic guitars and bombastic drums heard faintly in the background. "California English" is a very unique song with its classical music inspired melody and Ezra's random lyrical references to rice cakes, Philly cheese steaks, and toothpaste. Three things you never thought you would hear in a song together, but it works extremely well here, all adding up to the wonder that is Vampire Weekend.

Other standout tracks on the album include "Taxi Cab", a mellow, laid back number that does a wonderful job of blending African inspired rhythms and Western classical music into a melodic and beautiful track. "Run", a thumping, bombastic track that has rhythms similar to "Cape Cod Kwassa Kwassa" from their self titled debut, which helped solidify their status as indie rock's posterboys, and also making history by becoming the first band to appear on the cover of SPIN magazine before their debut album was even released, all adding up to the enormous buzz about the band beforehand.

My favorite track off the album is the disc's first single, "Cousins", a loud and fast tune with a melodic punch that is short, concise, and gets to the point quickly with its spontaneous, rhythmic guitars and furious drum patterns setting the song at a frenetic pace.

All around, a terrific follow up effort from one of the most unique and musically adventurous bands around today. Vampire Weekend are not afraid to take risks when creating new music, and traveling down those creative avenues seems to be paying big dividends for them again this time around. Highly recommended!

                                                                                                                                 Album Score: 4/5

Track Listing:
  1. Horchata
  2. White Sky
  3. Holiday
  4. California English
  5. Taxi Cab
  6. Run
  7. Cousins
  8. Giving Up the Gun
  9. Diplomat's Son
  10. I Think Ur A Contra

Monday, January 11, 2010

Interview w/ Stephen MacDonald & The Okay Win

Last night, I had the distinct pleasure of interviewing my good friends in Stephen MacDonald & The Okay Win just before their show at Great Scott in Allston, MA. Here is the transcript of that interview:

Can you give all your names and what you do in the band?

Steve: My name is Steve MacDonald and I play guitar and sing.
Matt: My name is Matt Jones and I play drums.
Ryan: My name is Ryan Ward and I play bass.
JM: I'm JM Craven and I also play guitar and I sing a bit.

How did the band come together?

Steve: Well, I've been playing solo for about a year and a half and I decided that I needed the songs to be a bit bigger so I brought in Ryan and Matt and we played a couple of shows together. And then, I wanted to be able to have things beyond rhythm and guitar so we brought in JM and we've basically been a band, the four of us since June and there are songs that I wrote but we're becoming more of a band and it's becoming more of a group effort so I didn't want to play by myself anymore and then these guys wanted to play, so it worked out.

How did you come up with the name The Okay Win?

Matt: Basically, Steve and I were online trying to come up with different names and I was like "It's the Steve MacDonald Trio" cause it's me, Steve, and Ryan and he goes "I might want to expand it" so it's kinda like off the cuff remarks so it's "Okay Win" which he did first, I was trying to say "Okay, Win" but like Arcade Fire with like 18 members, but that was lost early on, then they were like Okay Win, that sounds kind of cool let's just go with that, and that's what we came up with.

Can you describe the recording process for "We Are Bound" and what was it like?

Steve: Basically, I had a batch of songs and we went in with my friend Greg Loftus who is also on the same label as us and it was more just like, it's kind of hard to describe, we had the base of the song done and it was done in studio where Ryan wrote alot of his bass for most of the songs in studio and we had only played once with JM and he wrote all his guitar parts.

JM: Well, I got to listen to some of the songs before hand and alot of them I had set parts like "In Spit" especially there was nothing done, I had not even really touch on it and that's why you get alot of harmonics, pull-offs, and stuff.

Steve: Some of the songs we had been playing like "Could Gamble" it was just like, boom in, do it but songs like "In Spit" and "Fiction" were like the endings and it just turned into a whole different thing. So, some of the songs there were went in, and did it really fast and other songs we wrote together, but the weird thing is that Matt was never in the studio at the same time as them, Matt did his one week and they came in the next week and did it.

Matt: One day I kinda wished it was like when we were recording, we tried to do a song it was like the first time in studio so like Steve was playing acoustic for me, and so now live, I play songs kind of differently, so I wished we had the time to go back and do what we do now, cause it's different sounding live than it is on the record, it's different not better or worse.

Is there a general theme or subject matter that runs through each of your songs?

Steve: I guess everything has it's own place in my life but I just kind of write alot about what I observe how people are, like good and bad, and it's more like we're at an age where you're growing as an adult, moving out on your own, we have friends getting married and graduating college. I thought I knew everything and then at 24 now I know nothing so it's alot finding out about yourself, so I just write about what it's like to be a 24-25 year old now.

JM: I think alot of us have been talking before about Steve kind of just narrating all of our lives anyway, it's a very personal thing for him. The first time I saw him play live by himself solo, I left in tears. I was like I gotta get my shit together and now I'm playing in a band but I cried, I couldn't handle it.

Ryan: I think that all these songs are as different as they can be from time to time and are all very rooted in real life in experience and inexperience and what it means to really, truly live and everything that goes into that. I think what we try to do personally is we have these songs with this record, we had a batch of songs from Steve and we had some time to listen to them and really kinda know what they were about, and then from there, it was just a matter of accompaniment and it's real life and sometimes, that's just magical.

Can you explain how you guys got involved with Big Bullet Records in releasing "We Are Bound"?

Steve: The kid who runs Big Bullet Records, his name is Tucker Riggleman they're from West Virginia. He just found me online, we were communicating he really was digging what I was doing at the time I guess, so I went down there on a solo tour in April and met up and he was like "Next record you do, I would like to be a a part of it." And it's not so much a label where they financially put things together, but it's more of a collective where we all help each other out. He's got contacts down there, I've got contacts up here and everybody kind of helps each other out. It doesn't hurt the fact that his band is the best band we've ever played with and if they don't make it big, it's going to be sad. So it's like we joked that we were riding their coat tails, they are like an awesome band. I think especially for these three cause they didn't know Tucker. I don't think they really understood what it was about. Then when we went down to West Virginia, I specifically remember JM getting the most excited cause he got this experience like Tucker and those kids.

JM: They were from miles and miles and miles away and had a really similar musical background as us when it comes to things that they were listening to when they were younger and things like that. We hung out with them for like a good weekend and then we played a show with them in Philly and I had never seen them before and I'm not lying, when it was literally one of the best rock n' roll shows i've ever seen and it was to no one, it was to us.

Ryan: I was kind of skeptical about the whole record label thing from the get go, then going down to West Virginia and meeting Tucker and within the first 5 minutes of talking to him and asking him about the label, I knew we were in good hands and this was a perfect fit for us.

Recently, you guys went on a brief summer tour in support of "We Are Bound", What was it like to be on the road touring?

Steve: I think we all had different experiences. The first day I recently found out was the hottest day of the year and after the first show it was New York City and even though it was a hot day, New York City is a cold place. And I wanted to go home, I didn't want to be on the road, I was like this is it after this tour I don't know if I can do this, but the next day after that it got way better. It's a blur and by the end, you're unshowered and you just want to get home. The mere fact that you're on the road playing your songs and you break even financially, that's like a dream alot of people don't ever get to hear or do.

Matt: It was a really interesting time. This was my first tour, I've never been away that long and Steve said the first time in New York sucked, it was like three of our friends and there was this French pop act after us, they were only 12 years old, and they brought the bigger crowd than we did. It was a bit disheartening, no one really gave a shit about us there and then even at that show, even the people that were there, they were still people there that dug us and that was huge, and still someone just listening to your music who goes and spreads it around. It's really nice to see that, kind of get that feeling. It was a good time. It was the hottest week of the year, it was the fucking worst smelling band on the planet, but I loved every minute of it.

JM: Beyond that, it was something I've always wanted to do and to be able to do it with this group of people was as uncomfortable as it was with no AC and the only hot week in the summer. It was fucking great, we met alot of good people along the way, we were treated really well in places, we were bumped off in places, but we made money, we came out in the positive and it was needed to happen and we came back to Harpers Ferry at the end of the tour and it was our record release and it was the show of all shows. We brought out 300 people to Harpers Ferry, it was a perfect type of homecoming after a seemingly long, short tour.

What are the easiest and the most difficult parts of putting on a live show?

Steve: The easiest is probably just looking good. (Laughter) I think the easiest is when you're in the song, I'll get off stage and I don't even remember being up there, it's like a blur. For me, I get in this zone and as shy as a person as I can be, or as introverted. Like up there, I feel like a completely different person. The hardest part is making sure you sound ok, like levels wise from a technical standpoint, I guess that's probably the hardest. Or entertaining a crowd who doesn't know who the hell you are cause like if they're there to see their friends band, they don't really care about your song about some fucking person they don't know. It's easy, it's hard, it gets frustrating, it's rewarding, it's a complete rollercoaster.

Matt: I think the easiest part is just playing the show. The hardest part is being out there, being away from home, being away from your friends, being away from everything you know. It's kind of a strange experience, just kind of having no lifeline other than your band. Be it like "Oh, where are we going to stay tonight?" or "Are we going to have the money to fill the gas tank?" We came in the black for the last tour, but we did a little weekend jaunt, so I'm pretty sure we're close to being in the red now. So it's kind of worrying about that, that's the hard part.

If each of you guys had the opportunity to write any song ever made, which one would you pick and why?

Steve: If I could have his voice, I would want to just be Sam Cooke. But if I could write any song, I'm really just obsessed with "Fake Plastic Trees" by Radiohead right now and that live version of it is like, it's a beast, it's a beast.

JM: I think I've said previously in an interview I would want to cover "Who Will Survive and What Will Be Left of Them" by Murder of Death. I was kind of obsessed with Tim Kasher for awhile. But I wish I could just be more eloquent.

Matt: I'm going to break the rules and I have two, one is my indie choice, my credible choice. The other one is my I don't care who's listening. The I don't care who's listening one is "Love Story" by Taylor Swift. I don't care what anyone fucking says, this song is so fucking good. It was stuck in my head for like a month and a half and it's probably going to be stuck in my head now again for another year. My actual artistic choice is "This Must Be the Place (Naive Melody) by Talking Heads cause it's like such a basic song, the structure, it's just the same notes over and over again. It has such a broad and bold message of like complete and total love. I wish I had the power to write that cause it's so simple, but it's so hard to do.

Ryan: I was asked this question before, I'm going to change my answer, I'm going to say Boyz II Men "Motown Philly" (Laughter)

What music is your band influenced by and how does that sound appear in your music?

Steve: We get compared to bands like Fugazi and Pavement. We all love Wilco, Death Cab, and Built to Spill. I don't think there's ever a song where I'm like "OK guys, time to sound like Pavement today" We just go in and something happens and I can't explain it. Our writing process is really weird, we're going to play a song tonight that we've never played live in Boston before and we just kind of write everything off the cuff. I never sit down and say "OK, I'm going to write a folk song", "I'm going to write a sad song", "This one is going to be a screamer", then it's just too forced for me, it just gets too crazy.

Matt: Steve comes from more of a folky background. Growing up, I was more like really hard rock n' roll like the mid late 90's Flaming Lips stuff, just fuzzed out shit and really loud drums. When I first started playing I was like, "I don't know if I'm gonna fit cause I play like John Bonham". I hit them really fucking hard. We have a circle of bands that we're all very familiar with, then we branch off slightly but it works in such a way, each of us brings something different to the band but it's similar, but not the same, so I think that kind of works to our advantage.

What are the band's future plans for this year and beyond?

Steve: Well at least for the spring, it's going to be pretty sparse. Matt's still in college, he's about to graduate so we'll play like more around Massachusetts. I mean ideally, you want to tour the world or whatever, but I realize that this has to be a process and it's going to be this organic thing where you kind of branch out and slowly get across the country. We're doing Fenway Park in August. (Laughter) But ideally, I'd like to get further down the East Coast in the summer. I'm a very impatient person where I'm like, I wouldn't doubt it if we put out another record this year.It probably won't be until the Fall, but just tour more, try to get "We Are Bound" into the public more, cause we all feel strongly about it in a non self absorbed way, We just like the record and we want people to hear it. I want to be looked at as one of those Boston bands, when people mention Boston and they go, "Oh, The Okay Win, those guys rock my face off!"

One last question before I let you guys go, I you could describe your band in one word, what word would you choose?

Steve: We discussed this alot.
Ryan: Pow.
JM: I'm going with damp.
Ryan: Wonder.
Matt: Dynamic.
Ryan: I got another one, cute.
Steve: I can't do it in one word, I feel like you can't describe it, but the way I've described the core of it is  folk inspired rock that gets way more agressive than people anticipate.
JM: Honest.
Steve: That's what we try to be. Honest.

Thanks again to my friends in Stephen MacDonald & The Okay Win for this opportunity to interview them for my blog!! To check out their music, head on over to their MySpace page at: www.myspace.com/stephenmacdonaldmusic and from there, you can purchase their latest effort "We Are Bound"! Feel free to leave a comment here on the blog or shoot me an E-mail!

Wednesday, January 6, 2010

The Good, The Bad & The Queen - The Good, The Bad & The Queen

Hey everyone!

Hope everyone had a nice and relaxing Christmas and New Year! I'm kicking off 2010 with an album that was actually released way back in January 2007 but I'm giving it a listen anyway. This album was recommended to me by my good friend Ryan Ward, thanks Ryan!




The Good, The Bad & The Queen is the name of the album, but the group itself is unnamed. It's the side project of Damon Albarn, former frontman of the bands Blur and Gorillaz, who has recruited a host of musicians, including Danger Mouse of Gnarls Barkley who handles the production duties on this disc, which is essentially a concept album about modern life in London.

The album retains some of the melodic undertones of Damon's other side project, Gorillaz. Starting off, "History Song" begins off as mostly an acoustic affair, before a faint drum pattern settles in the background, making for an pleasant listen all throughout. "80's Life" is a piano-laden tune with Damon's laid-back vocal talents lending accompaniment all the way through. "Kingdom of Doom" is a melodic and musically diverse tune with a bevy of different instrumental arrangements that allow the song to have a mind of its own and my personal favorite song off the album.

The disc's first single, "Herculean" is a melancholy and mystical tune with Damon's vocals adding an element of dreamlike imagery to every song he sings. "Nature Springs" does a wonderful job of capturing the essence of nature with distinct keyboard effects amongst other arrangements. "A Soldier's Tale" is another simple arrangement with a backing acoustic guitar lending a hand.

Closing out the disc, "The Good, The Bad & The Queen" ties everything together with a 7-minute opus putting together all of the arrangements heard throughout the disc, sort of giving a brief synopsis of the album and all it has to offer.

So, whether this is going to be another side project or a one album affair remains to be seen, but Damon has done what other musicians set out to do in the first place: explore other musical possibilities that have allowed him to think outside the box and put together a cohesive effort that expresses pure musical ambition at its greatest.

                                                                                                                                  Album Score: 3.5/5

Track Listing:
  1. History Song
  2. 80's Life
  3. Northern Whale
  4. Herculean
  5. Behind the Sun
  6. The Bunting Song
  7. Nature Springs
  8. A Soldier's Tale
  9. Three Changes
  10. Green Fields
  11. The Good, The Bad & The Queen  
Note: If you guys have any suggestions on any albums that you would like me to review, feel free to shoot me an E-mail right here! or contact me via Twitter: @PeteAmara

Monday, January 4, 2010

The State of Boston Radio

Hey everyone!

As some of you may or may not know, The Sandbox, the long running morning show on WFNX, was cancelled this morning in favor of a new show with Program Director Keith Dakin, The Sandbox's Fletcher, and newsman Henry Santoro. Former WBCN DJ Adam 12 will take over the afternoon drive, replacing Big Jim, who will be involved creatively in the new morning show in an off-air capacity. Other shows such as Julie Kramer's morning show and Paul Driscoll's evening show will not be affected, although the evening show has been expanded to take over the space occupied by Loveline, which will not be aired on the station any longer.

This is another chapter in the ever changing world of Boston radio. This past summer, 104.1 WBCN went off the air after over 40 years on the air, Mix 98.5 took over their frequency and now operates as Mix 104.1, while The Sports Hub 98.5 took over the frequency once occupied by Mix, giving the Boston area it's first FM sports talk station, trying to compete with WEEI 850AM. All these changes have dramatically altered the Boston radio landscape significantly and as a result, there are now only 3 radio stations that play alternative rock, Radio 92.9, WFNX 101.7, and WAAF 97.7/107.3. This is a definite, clearcut sign of the changing of times here in Boston and pretty much all over the country. The days of having actual DJ's play your favorite music over the air are starting to diminish, being replaced with DJ-less formats, such as Radio 92.9. What do you make of all these changes happening to the Boston radio landscape and elsewhere around the country? Are the days of us finding new music on the radio over? What do you see happening to FM Radio further on down the road? Feel free to leave a comment here on the blog and tell me your thoughts about this shift in the radio landscape.