I share new music that I’ve discovered during the week on AeschTunes’ social media channels (Bluesky, Mastodon, Tumblr, and YouTube), and each Sunday I post a “New Music Discoveries” post to the AeschTunes website that collects all of the songs that were shared on the socials each week.

This is what I discovered over the past week. Check the songs out and see what you think.

Louis Tomlinson has released “The Observer” from the extended edition of his How Did We Get Here? album.

Musically, the song reminds me a bit of the power pop that was coming out in the early 2000’s. I never expected something like this from a former member of One Direction, but I like it.

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Natalie Imbruglia recently released “Upside Down” as the lead-off single from her forthcoming album, Algorithm.

This jangly pop track has a “light and sunny” vibe to its arrangement. However, this soundscape hides the darker meaning of the lyrics, which deal with mental health struggles.

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808 BEACH released “Here’s Where the Story Ends,” a collaboration with Belle Humble.

This is an EDM cover of The Sundays’ hit from the early 1990’s. The song is recast as a midtempo dance track, and Belle’s vocals capture the spirit of Harriet Wheeler’s vocals without mimicking them.

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Jorge Wilson recently released “Life Goes On.”

Musically, this track has a light and airy feel to its arrangement, which gives it a bit of a summer vibe. Lyrically, the speaker is dealing with the aftermath of a relationship and is in a place where they can think about moving on.

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Paul McCartney has released “Home To Us,” a collaboration with Ringo Starr. In addition to the the two surviving Beatles, Chrissie Hynde and Sharleen Spiteri provide backing vocals.

It’s a catchy song, and you can hear in the vocals that both Paul and Ringo enjoy this trip down memory lane.

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The Rolling Stones released “In The Stars” from their forthcoming album, Foreign Tongues.

Sonically, this upbeat track reminded me at times of the classic Rolling Stones sound. However, the production helps to make it feel fresh and modern. It’s a catchy song, and I enjoyed it.

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Chaka Khan recently released “Chakzilla,” which features Sia on backing vocals. Sia also co-wrote the song.

This is an uptempo dance track, and you can hear that Chaka’s still got it. This sounds like it would be a good fit for dance radio, and I hope the format gives it a chance.

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NOW That’s What I Call 70s Soul is a four-disc compilation CD released in the United Kingdom by Sony Music / EMI, which features 88 soul tracks from the decade. However, I noticed that there were two songs that also appeared on NOW That’s What I Call 60s Soul (The Delfonics’ “Ready Or Not Here I Come (Can’t Hide From Love)” and Tami Lynn’s “I’m Gonna Run Away From You”). I thought this was a little disappointing because it feels like they cheated on this tracklist. I have a hard time believing that Sony Music / EMI couldn’t get the rights to enough 70’s soul material that they had to resort to repeating some songs from the release that focused on the previous soul era. When it comes to the tracklist, I was familiar with a lot of the material included on this release, but there were still songs included on this compilation that I had never heard before.

Prior to listening to NOW That’s What I Call 70s Soul, the only song I knew by The Staple Singers was “I’ll Take You There.” Thanks to this release, I’ve now also heard “Respect Yourself.” While this may not be as uptempo as “I’ll Take You There,” it’s still got a catchy feel and funky vibe to its arrangement. Its lyrical message is two-fold: one is focusing on the issue of racism and the other criticizes disrespect and selfishness in general. I really like what this song has to say, but it’s sad to realize that its message and themes are just as relevant now as they were over 50 years ago. “Respect Yourself” is among the standouts of the new discoveries that I made while listening to this compilation.

Before listening to this release, I was only familiar with two songs by The Tymes: “So Much in Love” and “You Little Trustmaker.” Thanks to NOW That’s What I Call 70s Soul, I have now also heard “Ms. Grace.” Musically, this isn’t what I would have expected from a mid-70’s soul song, because it’s arrangement sounds more like something from the late 60’s. Looking at its chart performance in the United States, it peaked at number 75 on Billboard’s Hot Soul Singles chart and at number 91 on the Billboard Hot 100, which explains why I’d never heard this before. It’s a good song, but I think it’s “dated” feel ultimately hurt its chances for success in the United States.

I had never heard of The Blackbyrds before listening to this compilation, so this release served as my introduction to both the act and to their song, “Walking In Rhythm.” It’s a midtempo R&B track with a laid-back vibe, yet it still sounds catchy. Lyrically, it’s a song from the point of view of a speaker who’s excited about returning home to his partner. This is a great song, and I can’t believe I’d never heard it before now. Apparently, this was a Top 10 hit on the Billboard Hot 100 back in 1975, as well as a Top 5 hit on the R&B and Adult Contemporary charts, so you’d think this would be a song that would have gotten some kind of recurrent airplay over the years. “Walking In Rhythm” is another standout among the new discoveries that I made while listening to NOW That’s What I Call 70s Soul.

I thought I knew a lot of material by Frankie Valli & The Four Seasons, so I was surprised when I discovered that their song included here was one I didn’t already know. The track in question is “The Night,” and from what I read, it appears it failed to chart when it was released in 1972. However, it became a hit in the United Kingdom when it became a popular song on the northern soul circuit and led to it being re-released there in 1975. That certainly explains why I’d never heard of “The Night” before now. After listening to this, I can say that this doesn’t sound like something I would have expected from Frankie Valli & The Four Seasons. It’s not a bad track at all, and in fact, I like it. But it’s not what listeners would expect from the act, which is likely why it didn’t chart in the United States back in 1972.

Before listening to NOW That’s What I Call 70s Soul, the only songs I knew by The Trammps were “Disco Inferno” and “That’s Where the Happy People Go.” This release introduced me to “Hold Back the Night,” a mid-to-uptempo R&B track with lyrics from the point of view of a speaker who’s gone through the breakup of a romantic relationship and having a hard time dealing with it. Maybe I’m just too used to “Disco Inferno,” but I thought that “Hold Back the Night” sounded like a standard mid-70’s soul track with nothing in its arrangement to make it stand out from other similar material being released at the time. It appears this song only peaked at number 35 on the Billboard Hot 100, and I think the bland arrangement is what ultimately prevented this from being a bigger hit in the United States.

I only had familiarity with a small handful of the Four Tops’ material before hearing “It’s All in the Game” on this compilation. While doing some research on this track, I discovered that it’s a cover of a song recorded by Tommy Edwards in the 1950’s. I like the laid-back arrangement of Four Tops’ version of this track, and the vocal performances are fantastic on it. While you can hear a little bit of the 50’s in the musical arrangement, the song has a 70’s soul sheen on it. It’s a little disappointing to learn that the Four Tops’ version of “It’s All in the Game” only managed to peak at number 24 on the Billboard Hot 100, but it also explains why I’ve never heard this receive recurrent airplay. For me, this was another great discovery that I made while listening to NOW That’s What I Call 70s Soul.

Before listening to this release, I was only familiar with three songs by The O’Jays: “I Love Music,” Love Train,” and “Use Ta Be My Girl.” This compilation introduced me to “Back Stabbers,” an R&B track with a lyrical message that warns men about their male “friends” who are secretly planning to steal their wives or girlfriends. While doing research on this song, I discovered it was a Top 5 hit on the Billboard Hot 100 and a number one hit on Billboard’s R&B chart, so it’s surprising that I’d never heard this one before now. I love the sound of this one, though, and I can hear why it was so successful back in the early 1970’s. “Back Stabbers” is among my favorite new discoveries on this compilation.

I only knew three songs by Heatwave before listening to NOW That’s What I Call 70s Soul: “Always And Forever, “Boogie Nights,” and “The Groove Line.” Listening to this release, I was introduced to “Mind Blowing Decisions.” Musically, this song has an interesting vibe going on, but in the long run, it really doesn’t go much of anywhere by the end of the track’s runtime. It doesn’t help that for me, the lyrics and their delivery aren’t quite as strong as they could have been.

My knowledge of Teddy Pendergrass is primarily through his work with Harold Melvin & The Blue Notes, a couple of collaborations, as well as through “Love T.K.O.” and his cover of Bread’s “Make It With You.” This compilation introduced me to “Close The Door,” an R&B track with lyrics about romance and seduction and using the idea of “closing the door” as direct request for privacy for just the speaker and their romantic interest. Teddy’s vocal performance is good on this, and he sells the lyrics. The musical arrangement has some of the expected hallmarks that are associated with the R&B/soul material of the late 1970’s, but the sound works for the vibe that the lyrics are going for.

I’ve heard Tina Turner’s rendition of “I Can’t Stand the Rain” for years, as well as a cover version by Seal, but I’d never heard the original version of the song by Ann Peebles before listening to NOW That’s What I Call 70s Soul. It has more of a minimal sound when compared with Tina’s version, but I actually like the vibe that this creates. What I also appreciate here are some of the musical elements that kind of sound like drops of rain, because this adds a nice touch to the arrangement. Ann Peebles has a great voice, and her understated vocal performance is a perfect fit for the vibe the musical arrangement is going for. For me, “I Can’t Stand the Rain” was another standout discovery on this release.

Before listening to this compilation, I had familiarity with a handful of songs by The Stylistics. However, NOW That’s What I Call 70s Soul introduced me to “Can’t Give You Anything (But My Love).” Musically, the arrangement has a rather standard mid-70’s soul vibe to it, but the vocal delivery helps to hide the expected vibe a little bit. Unfortunately, the last 45 seconds or so of the track feel repetitive, which weakens the song a little. From doing research on this song, I discovered that it only peaked at number 51 on the Billboard Hot 100 and at number 18 on Billboard’s R&B chart, which explains why I’d never really heard the track receive recurrent airplay on the radio. “Can’t Give You Anything (But My Love)” isn’t necessarily a bad song, but I can hear why it wasn’t a big success on the charts.

Thanks to some of the NOW: Yearbook compilations I’ve reviewed over the past couple of years, I’ve gained more familiarity with The Three Degrees outside of “When Will I See You Again.” This compilation introduced me to yet another song by the act: “Take Good Care of Yourself.” This midtempo track has a great vibe to it, and the strings that appear at times during the mix add a nice texture to its arrangement. The vocal performances on this song are fantastic, and the members sound good both individually and when they sing together. I learned that this song never made it onto the Billboard Hot 100, and that it only peaked at number 64 on the R&B chart and at number 24 on the Adult Contemporary chart. However, it was a Top 10 hit in the United Kingdom. After seeing how it performed on the American charts, it’s not surprising that “Take Good Care of Yourself” is a song I’d never heard before now. Personally, I enjoyed this song, and it’s among the standouts for the new discoveries that I made while listening to this compilation.

Here’s a breakdown of the artists that appear on NOW That’s What I Call 70s Soul: Al Green; Marvin Gaye; Diana Ross; Stevie Wonder; Jackson 5; Smokey Robinson & The Miracles; Barry White; The Three Degrees; Rose Royce; Harold Melvin & The Blue Notes; The Stylistics; Bill Withers; Minnie Riperton; The Isley Brothers; The O’Jays; Ike & Tina Turner; The Staple Singers; The Supremes; Gladys Knight & The Pips; The Spinners; The Delfonics; The Temptations; Commodores; Billy Paul; The Floaters; Heatwave; The Manhattans; Earth, Wind & Fire; George McCrae; The Tymes; The Drifters; Johnny Bristol; Detroit Emeralds; The Blackbyrds; New York City; Archie Bell & The Drells; Tavares; Jimmy James & The Vagabonds; Frankie Valli & The Four Seasons; Tami Lynn; The Trammps; Chairmen of the Board; Four Tops; Diana Ross & Marvin Gaye; Michael Jackson; Isaac Hayes; James Brown; Edwin Starr; The Staple Singers; Sly & The Family Stone; Timmy Thomas; William DeVaughn; Marilyn McCoo & Billy Davis Jr; Raydio; The Moments; Teddy Pendergrass; Aretha Franklin; Ann Peebles; Freda Payne; Peaches & Herb; Deniece Williams; Lou Rawls; Dionne Warwick & The Spinners; Sweet Sensation; Eddie Holman; and George Benson.

Even though NOW That’s What I Call 70s Soul includes quite a few of the well-known and “expected” tracks for this kind of a release, there’s also a significant amount of material here that isn’t going to be as well-known to American audiences. It’s a compilation I would recommend to listeners who have an appreciation for 70’s soul music and appreciate the classics from the era that are also willing to check out some of the era’s material that may be a bit more on the obscure side.

(reviewed by Lesley Aeschliman on May 31, 2026)

Musically, “Asahi” is a slow-to-midtempo J-rock track that leans  more toward the pop side of things. It’s got an arrangement that’s catchy, yet laid-back. The song also has a bit of an optimistic vibe to it as well. This track has the right sound for the ending theme of an anime series, but that doesn’t mean that it sounds generic. The vocalist has a good voice and the delivery does a great job of complimenting the feel that the music is going for.

I listened to “Asahi” on Spotify, so I didn’t have easy access to an English translation of the lyrics. However, I did locate an English translation of the lyrics that’s been posted onto the internet. Reading through the translation, the lyrics seem to be from the point of view of a speaker who’s lost their way and their life seems dark. However, they have hope that their situation can improve. If this translation is accurate, there’s some wonderful imagery included in the lyrics.

I may not be watching the simulcast for the LIAR GAME anime, but if I was, this is a song that I would look forward to hearing each week.

Fans of Lucky Kilimanjaro and of the LIAR GAME anime will likely have the greatest appreciation for “Asahi,” but I think J-pop and even J-rock listeners may find something to enjoy here as well. As for western music audiences, I believe the song could potentially appeal to pop music listeners who don’t mind hearing a song that’s being performed in a foreign language.

(reviewed by Lesley Aeschliman on May 30, 2026)

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NOW Yearbook Presents the 60’s – Volume 2: 1963-1964 is part of a series of compilations being released in the United Kingdom by Sony Music / EMI, which feature songs that were hits in the U.K. during the 1960’s. This volume focuses specifically on songs that were hits in 1963 and 1964. However, it should be noted that the songs on this compilation are not presented in chronological order, so you don’t get a smooth listening experience of how the song of the 60’s progressed over the two years covered by this set.

While I wasn’t alive during the 1960’s, I’ve had exposure to material from the decade over the years and I have an appreciation for it. When I looked at the tracklist for this release, I was surprised by how much more of the material I already knew on it when compared to how much I was already familiar with on NOW Yearbook Presents the 60’s – Volume 1: 1960-1962.

While I have some familiarity with Manfred Mann’s material, listening to this compilation marked the first time I heard “5-4-3-2-1.” This is a catchy 60’s rock track, and what really grabbed my attention was the use of the harmonica. I loved the texture that this added to the arrangement, as it helps the song stand out and become an earworm in a good way. “5-4-3-2-1” is among the standouts for the new discoveries that I made when I listened to this release.

The Hollies are another artist that I already have some familiarity with, but I’d never heard “Just One Look” before. The vocal harmonies on this song are tight, and the performance does a great job of perfectly complementing the track’s musical arrangement. However, as I listened to this song, I couldn’t help but compare it musically to the material that The Beatles would have been releasing around the same time. As I wasn’t alive at the time this was released, I have no idea if having this similar sound was simply a coincidence or if The Hollies were purposely trying to copy The Beatles with the hope of having the same success. “Just One Look” isn’t a bad song at all, but the fact that I pick up on The Beatles comparison when I listen to the song is a bit of a distraction.

This release also includes “I Like It” by Gerry & The Pacemakers, which I had never heard prior to listening to NOW Yearbook Presents the 60’s – Volume 2: 1963-1964. However, I was already familiar with a live cover done by Depeche Mode back in the early 1980’s that I heard on a bootleg recording that was made during that era of Depeche Mode’s touring career. It was great to finally hear the original version of the song, and I found that I enjoyed this just as much as the Depeche Mode cover. “I Like It” is a solid 1960’s rock track, and it’s another great discovery that I made while listening to this release.

I’d only heard one song by Jet Harris & Tony Meehan prior to this compilation, so it introduced me to the song “Diamonds.” After listening to this track, I thought it was a pretty decent 1960’s rock instrumental, but I think that the other song I know by them (“Scarlett O’Hara”) is a little stronger.

This compilation introduced me to The Merseybeats and their song, “I Think of You.” The group came out of the Liverpool Merseybeat scene of the 1960’s. It’s a pretty and soft-sounding track, and I thought it had a soothing feel to its arrangement. “I Think of You” is a good song, but as far as I can tell, it didn’t have much in the way of success in the United States. According to Discogs, a single for it was released in the United States, so it was eligible for the Billboard Hot 100. However, I think what hurt it in the U.S. is the fact that it’s sound didn’t quite fit in with what was going on in pop music here in 1963 and 1964. Even so, this is another song that I was glad to discover while listening to this release.

Brenda Lee is an artist that I have some familiarity with, but listening to NOW Yearbook Presents the 60’s – Volume 2: 1963-1964 marks the first time that I heard “As Usual.” The musical arrangement has a feel to it that I expect from a Brenda Lee song, but that’s not a bad thing. Her vocal delivery is wonderful on this track, and it perfectly complements the vibe that the musical arrangement is going for. The lyrics on this song are also very relatable to listeners. This is another track that I’m glad I discovered on this compilation.

Before listening to this release, the only song I knew by The Shangri-Las was “Leader of the Pack.” Thanks to this compilation, I have now also heard “Remember (Walkin’ in the Sand).” Unfortunately, I have to say that this song didn’t really grab me on my first listen. While the chorus is catchy and memorable, I found the rest of the song to be a bit on the boring side and forgettable. Maybe this is one that will grow on me with more listens.

I had never heard of The Four Pennies or their song “Juliet” before I listened to NOW Yearbook Presents the 60’s – Volume 2: 1963-1964. Musically, the intro sounds interesting, but once the song gets going, it has a typical 60’s rock ballad sound to it. The members of the group have good voices, but it’s not enough to make this track stand out from similar-sounding songs from the era. Unfortunately, the guitar that’s higher in the mix near the end of the track isn’t enough to make this stand out.

Prior to listening to this compilation, the only song I knew by Frank Ifield was “I Remember You,” so this released marks my first time hearing “The Wayward Wind.” I have to say that this song is more of a pop track than “I Remember You” was, although he does incorporate some yodeling in his vocal delivery on “The Wayward Wind.” I found this song to be a catchy country rock track, and I think it’s a little stronger than “I Remember You.”

NOW Yearbook Presents the 60’s – Volume 2: 1963-1964 also introduced me to The Bachelors and their song, “Diane.” Musically, this is what can be described as a “1960’s easy listening track,” with lyrics where the speaker is thankful for a girl named Diane being in their life. It’s a pretty standard love song for the era, but I thought this was an enjoyable listen.

Prior to listening to this release, I only knew a couple of songs by Billy J. Kramer & The Dakotas (“Bad To Me” and their cover of The Beatles’ “Do You Want to Know a Secret”). Sonically, it’s different from what I’m used to, since the only songs I knew by them previously were both written by John Lennon and Paul McCartney. Maybe because I was already familiar with the two Lennon-McCartney written songs that they recorded, but I found that “Little Children” didn’t really grab me on my first listen.

This compilation introduced me to Kathy Kirby and her cover of Doris Day’s “Secret Love.” Unfortunately, I’m not familiar with the Doris Day version, so I don’t know how this compares with it. Kathy has a powerful voice, especially for the pop music that was released in the early-to-mid 1960’s. But her vocal delivery works well with the upbeat feel of the arrangement, and I thought this track was very catchy. It’s another great discovery that I made while listening to NOW Yearbook Presents the 60’s – Volume 2: 1963-1964.

I have some familiarity with Dusty Springfield’s music, but this release introduced me to the song “I Just Don’t Know What to Do With Myself.” I’m more used to Dusty’s uptempo material, so it was refreshing to hear a ballad from her. It’s a great 60’s breakup song, and Dusty vocal performance is phenomenal. She really sells the lyrics with her delivery. To me, this was another standout track on this compilation.

I’ve been familiar with Boy George’s “The Crying Game” for a little over 30 years, and for a lot of that time, I had no idea that it was a cover song. NOW Yearbook Presents the 60’s – Volume 2: 1963-1964 introduced me to the original version of the song by Dave Berry, and after I heard it, I could hear how Boy George modernized the song while still maintaining the spirit of the original song. I loved Boy George’s cover, and I’m so glad to finally hear the original version of “The Crying Game.” After listening to this, I have to say that I enjoy Dave Berry’s original as much as I do Boy George’s cover.

Before listening to this release, the only song I had heard by The Tornados was “Telstar.” Thanks to this compilation, I have now also heard “Globetrotter.” I have to say that I think “Globetrotter” is the stronger song of the two, because this instrumental has a catchy hook that grabs the listener immediately and it keeps their interest throughout its entire runtime. For me, this was another nice discovery to make on this compilation.

Here’s a breakdown on the artists that appear on NOW Yearbook Presents the 60’s – Volume 2: 1963-1964: The Kinks; The Animals; Manfred Mann; Lulu & The Luvvers; Dusty Springfield; Roy Orbison; The Beach Boys; The Four Seasons; Elvis Presley; The Chiffons; The Ronettes; The Crystals; The Swinging Blue Jeans; Brian Poole & The Tremeloes; Billy J. Kramer & The Dakotas; The Hollies; Gerry & The Pacemakers; The Searchers; Freddie & The Dreamers; Herman’s Hermits; Cilla Black; Shirley Bassey; Petula Clark; Sandie Shaw; Dionne Warwick; The Drifters; Martha & The Vandellas; The Supremes; Marvin Gaye; Mary Wells; Little Stevie Wonder; Millie Small; Lesley Gore; Little Peggy March; Billie Davis; Jet Harris & Tony Meehan; The Shadows; Joe Brown & The Bruvvers; The Merseybeats; Peter And Gordon; Brenda Lee; Skeeter Davis; The Chiffons; The Angels; The Shangri-Las; The Cascades; The Four Pennies; Bobby Vee; Frank Ifield; The Bachelors; The Searchers; Kathy Kirby; Stan Getz, Joao Gilberty & Astrud Gilberto; Andy Williams; Tony Bennett; Doris Day; Dean Martin; Louis Armstrong; Bobby Vinton; Dave Berry; The Supremes; Jan & Dean; The Surfaris; The Honeycombs; The Tornados; and Matt Monro.

If you’re a fan of 60’s music, especially the music that was popular in the United Kingdom during this era, then NOW Yearbook Presents the 60’s – Volume 2: 1963-1964 would be a great fit for you. There’s a lot of material on this release that would be familiar to American fans of 60’s pop music, and American listeners would also be exposed to songs from the era that they’ve likely never heard before.

(reviewed by Lesley Aeschliman on May 30, 2026)

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Musically, “Cabin Fever” is a catchy midtempo pop track. While you can hear the synths in the arrangement, they aren’t as high up in the mix, which is why I consider it to be a pop song instead of a synthpop one. Even so, I think this sounds great. Vocalist Elly Jackson’s voice still sounds as good after all these years later, and her delivery perfectly complements the track’s musical arrangement.

In an article at Contactmusic.com, Elly is quoted as saying, “Cabin Fever is about where I was: stuck in my head and lost, having to be brutally honest about it in order to escape.” It’s also mentioned in the article that the new album draws on personal experiences, including the end of a 17-year relationship and addiction. Reading through the lyrics of “Cabin Fever,” I can pick up on themes of withdrawal and mental overload.

I really enjoyed “Cabin Fever,” and Elly does a fantastic job of capturing the song’s themes in both the lyrics and with her vocal delivery. I honestly believe that this song could have some success at pop radio if the format was willing to give it a chance.

Listeners who already have familiarity with La Roux’s music will likely appreciate “Cabin Fever,” but I hope that modern pop music and electronic music fans would be willing to give it a chance.

(reviewed by Lesley Aeschliman on May 29, 2026)

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This song first came to my attention, through Michael Bolton’s cover that appeared on his 1991 album, Time, Love & Tenderness. I liked the song, and at the time, I thought Michael sounded good on it. A few years later, I would hear the original Percy Sledge recording, and I found Percy soulful vocal performance to be superior to Michael’s. While I don’t dislike Michael’s cover, I’ve found that I don’t enjoy it quite as much as I did before hearing the Percy Sledge original.

Percy took “When a Man Loves a Woman” to number one on the Billboard Hot 100 on May 28, 1966 and spent two weeks at the top of the chart. The song was also a number one hit on Billboard’s Hot Rhythm & Blues Singles chart. Honestly, I don’t think it’s surprising that “When a Man Loves a Woman” became a number one hit on the pop chart back in the 1960’s. The lyrics are relatable, and Percy’s vocal delivery has a sincerity that makes the listener believe that he means the words that he’s singing.

“When a Man Loves a Woman” has been covered several times. In addition to Michael Bolton’s version, the song was covered by John Wesley Ryles, Jack Grayson and Blackjack, Narvel Felts, Bette Midler, Luba, Jimmy Barnes, and Joe Cocker.

Percy Sledge’s original version of the song was used in the first episode of The Wonder Years, in an important and iconic scene between Kevin Arnold and Winnie Cooper. If I had watched The Wonder Years at the time it was airing on television in the late 1980’s, I would have had my first exposure to the song through that. The Wonder Years is a show I didn’t really watch until I caught it in syndicated reruns in the mid-1990’s, and I believe seeing the rerun of that the first episode was my first real exposure to the Percy Sledge recording.

Unfortunately for Percy, “When a Man Loves a Woman” would be his only number one hit on the Billboard Hot 100. Outside of that, he did manage to have three Top 20 hits with “Warm and Tender Love,” “It Tears Me Up,” and “Take Time to Know Her.” He also squeaked out a Top 40 hit with a cover of Elvis Presley’s “Love Me Tender.”

Sadly, Percy Sledge passed away on April 14, 2015 at the age of 74.

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In March 2026, Moby released an EP of new remixes of the song “When It’s Cold I’d Like to Die,” one of the tracks from his 1995 album, Everything Is Wrong. For these 12 remixes, newly recorded vocals by Jacob Lusk were used instead of the original vocals by Mimi Goese. I have to be honest and say that while I think Jacob has a decent voice, I’m not quite sure this vocal style was really the right fit for a song like “When It’s Cold I’d Like to Die.” To me, it sounds like Jacob is trying to mimic Mimi’s vocal performance. There’s just something about this delivery that doesn’t entirely sound natural to me. Perhaps I’m biased because I’ve heard Mimi’s vocals on this song for 30 years and that’s what I’m used to.

The first version of the song on this EP is the John Tejada Remix. This mix is still slower in its feel, but the BPM is noticeably a little higher than the original version of the track. I like the flourishes that have been added to the arrangement for this remix, because it adds character and helps to modernize the sound of the track. I like the sound of this mix, but I find myself wondering what it would have sounded like with Mimi’s vocals instead of Jacob’s. The only real nitpick I have with this mix is that it feels like it goes for a little too long. If it was tightened up just a little bit, this would have been an even stronger remix.

Next is the High Beam Remix, which is the shortest mix on this release, clocking in at three minutes and one second. This remix utilizes its short runtime well, and the buildup in the sound is very effective. I also have to say that the sound of this remix seems to be a good fit for Jacob’s vocal delivery. Of the 12 mixes that are included on this release, the High Beam Remix is easily my favorite.

This is followed by the Nohr Remix, which modernizes the sound of the song but also retains a little more of the ambient feel of the original track. I like the laid-back vibe of this remix and keeping it to around three minutes in length was the right choice. While this may not be my favorite mix on this EP, it comes a pretty close second.

The next eight remixes on this release were all done by Moby. Unfortunately, there wasn’t any effort to name these mixes, as they’re simply labeled as Moby’s Remix 1, Moby’s Remix 2, Moby’s Remix 3, etc.

The first Moby remix retains the ambient feel of the original song while updating its sound, but the mix also has more of a focus on strings when compared to the original. I really like the sound of this mix, but I don’t think that Jacob’s vocal delivery works as well as it could with this arrangement. This is another remix where I wish I could hear Mimi Goese’s vocals instead.

The second Moby remix is another slower mix. I swear I heard what sounded like flutes in the intro, and they also make appearances during various points in the mix. Honestly, I love the texture that the flutes added to the remix. There’s also a strong emphasis on strings and piano in this mix as well. The way the elements are mixed here, Jacob’s vocals aren’t quite as prominent, so I don’t notice the delivery quite as much. Moby’s Remix 2 is a mix that I enjoy on this release.

Moby’s third remix is a piano-based mix, although additional instruments are added to the arrangement at times during the remix. The flourish with the strings near the end of the track are a nice touch. I really like the direction that Moby went with this musically, but I really wish I could Mimi’s vocals on this mix instead of Jacob’s.

The fourth Moby remix is another slower mix, although it has more of an electronic feel to it. The main exception to this is the strings that can be heard at times in the remix. Unfortunately, this mix kind of sounds like it’s plodding along by the time you hit the three-minute mark. While there may only be about a minute-and-a-half minutes left in the remix, it felt longer than that. This isn’t necessarily a bad remix, but it’s not one that I’m personally going to go out of my way to listen to.

Moby’s fifth remix is another slower remix, with a focus on piano and percussion for its instrumentation, although strings are added to the mix as it progresses. Unfortunately, this mix doesn’t feel like it goes much of anywhere during its runtime, and I found this remix easy to ignore because there wasn’t really much to make this stand out from most of the other Moby remixes that have appeared on the EP up to this point.

The sixth Moby remix tries to do some different things when compared with the previous ones by him on this release. The intro has more of a slow-to-midtempo vibe, and while the main mix may be a little on the slower side, Moby uses some of the same elements as he did in his other mixes of this track, but he still brings something new here. Up to this point, a lot of the Moby mixes had a bit of a “sameness” to them, so Moby’s Remix 6 stands out in a good way. This particular sound also seems to work a little better with Jacob’s vocals, which helps to make this a remix that I’m more willing to go out of my way and listen to in the future.

Moby’s seventh remix is the longest track on the EP, clocking in at seven minutes and seven seconds. It starts out with piano and some percussion, but additional sounds are added as the intro progresses. Unfortunately, this remix feels like it takes too long to get going, as it takes about three minutes to get through the intro. Once the mix gets going, it has a more minimal sound, but for a while, it’s primarily some electronics that feel like they’re droning on until a piano finally comes in to add some texture. To be honest, I found this remix to be a tedious listen, as it feels like it’s just dragging along and not going much of anywhere for most of it. Honestly, it’s not until the last minute-and-a-half where it truly starts sounding interesting. But by then, the mix had already lost my interest. I like some of what Moby was going for here, and I think this would have been stronger if it had been tightened up a little more.

Moby’s eighth and final remix on this release turns “When It’s Cold I’d Like to Die” into more of a slow-to-midtempo track. It also has a more unique feel to it than most of the other Moby remixes of this song. This sound of the track works well with Jacob’s vocal delivery, which helps to make this one of the stronger remixes on this EP.

The final track on this release is an a cappella version of the track, so you only hear Jacob Lusk’s vocals. If you enjoy Jacob’s delivery, then you might have an appreciation for this a cappella rendition.

After listening through this new remix EP for “When It’s Cold I’d Like to Die,” I have to say this isn’t as strong of a release as it could have been. Having eight remixes by Moby that are back-to-back without any real mix names didn’t help, especially when several of his mixes have a bit of a “sameness” to their sound. Having all of those Moby remixes kind of made feel like I was slogging my way through when I listened to this release. Honestly, I think this would have been a stronger release if there weren’t as many remixes by Moby included. I think the space could have been better used by the other three remixers each getting another remix on the EP or bringing in one or two additional remixers to help provide a little more variety to the sound of the remixes.

(reviewed by Lesley Aeschliman on May 27, 2026)

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The Verve released their third studio album, Urban Hymns, on September 29, 1997. The song “Bitter Sweet Symphony” was released as the lead-off single from the album and peaked at number 12 on the Billboard Hot 100. But thanks to the success of that single, the album peaked at number 23 on the Billboard 200 album chart. Unfortunately, “Bitter Sweet Symphony” would end up being the only major hit from Urban Hymns.

We bought a used copy of Urban Hymns a few years back in order to acquire a copy of the song “Bitter Sweet Symphony.” It’s been a long time since I last listened to the album in its entirety, so I decided to take this opportunity to listen to the album again and review it.

The album opens with “Bitter Sweet Symphony,” which was the biggest hit from this album, as well as the biggest hit of the band’s career. The song was developed from a sample from a 1965 version of the Rolling Stones track, “The Last Time,” by the Andrew Oldham Orchestra, with The Verve adding vocals, strings, guitars, and percussion. The Rolling Stones’ former manager, Allen Klein, sued the band, and as a result of this suit, the group relinquished all royalties from the song to Mick Jagger and Keith Richards and added their names to the songwriting credits. After Klein’s death in 2019, Jagger, Richards, and Klein’s son ceded the rights back to The Verve’s songwriter, Richard Ashcroft. When this song was getting airplay back in the later 90’s, I really liked the sound of it. The track had a sound listeners wouldn’t have necessarily expected back then, but it still managed to fit in sonically with what was going on in mainstream music in the United States at the time. Even though it’s a little disappointing that Mick Jagger and Keith Richards hadn’t initially received any songwriting credit for the sample that was used, I still appreciate this song. In my opinion, this is easily the strongest track on Urban Hymns.

Next is “Sonnet,” which was released as the fourth single from the album, although it appears it only received a promotional release in the United States. Because of that, it wasn’t eligible for inclusion on the Billboard Hot 100 due to the chart rules that were in effect at the time. However, the song didn’t manage to make it onto any of Billboard’s radio airplay charts, either. But this was likely due to the fact that this was the fourth single and that there hadn’t really been another hit from the album since “Bitter Sweet Symphony.” This song is a ballad with a musical arrangement that includes acoustic guitar, electric guitar, and strings. “Sonnet” is a britpop track that has a bit more of a “soft rock” feel to it. Lyrically, the song has an introspective vibe to it, with a speaker referring to longing and love through a sense of nostalgia. Personally, I like the song. It has a beautiful arrangement, and the vocal delivery does a great job of capturing the speaker’s emotions. However, I can hear why “Sonnet” didn’t make it onto any of Billboard’s airplay charts in 1998. Sonically, it didn’t really fit in with what was succeeding at either the pop or the alternative formats. However, it surprises me that Triple-A radio didn’t embrace this one. But for me, “Sonnet” is another standout on Urban Hymns.

This is followed by “The Rolling People,” which was only released in America as a promotional only single as a follow-up to “Sonnet.” It surprises me that the American label bothered with this, since the previous three singles from the album didn’t really have much in the way of chart performance here. The album version is about seven minutes long, so a single edit was released to radio. Musically, this is an alternative rock track with an arrangement that kind of makes me think of U2. The fact that for a lot of the song, the vocal delivery sounds like it’s trying to mimic U2’s lead singer Bono, probably helps to conjure up the U2 comparison. It’s not a bad song, and I do like it, but it really feels like the last minute-and-a-half to two minutes could have been tightened up a little to create a stronger track.

“The Drugs Don’t Work” was released as the second single from Urban Hymns. Unfortunately, it seems the single didn’t get a physical release in the United States, which would have kept it from being eligible to chart on the Billboard Hot 100 due to the chart rules in place at the time. However, from what I can tell, this song didn’t make it onto any of Billboard’s airplay charts, either. I find that to be a bit surprising, since this directly followed up the very successful “Bitter Sweet Symphony.” After listening to the song, though, I can hear why alternative rock passed on it. But it surprises me that Triple-A radio didn’t embrace “The Drugs Don’t Work.” Musically, the song is a slower track with a musical arrangement that focuses on acoustic guitar, strings, and percussion. Lyrically, the song seems to be from the point of view of someone who’s watching someone close to them who’s in failing health and heading toward death. Richard Ashcroft’s vocal performance truly captures the speaker’s emotions and it helps to sell the song to the listener. Personally, I think “The Drugs Don’t Work” is another standout track on the album, and it’s a little disappointing that the song didn’t perform better in the United States.

Next is “Catching The Butterfly,” which has a musical arrangement that seems to take some inspiration from 60’s psychedelia and incorporates those elements into a 90’s modern rock track. This song has an interesting vibe to it, but it takes almost three minutes of its roughly six-and-a-half minute runtime for the arrangement to go anywhere. Because of that, it felt like this track just kind of plods along, and I found that it had a hard time keeping my interest. This is one of those cases where there were some interesting ideas, both in the musical arrangement and in the lyrics, but the execution of the overall track weakens the song.

This is followed by “Neon Wilderness,” which is among the shorter tracks on the album, clocking in at two minutes and 37 seconds. Musically, this is another track that takes inspiration from 60’s psychedelia. There are also effects placed on the vocals that given them a dream-like quality, which fits in with the psychedelic feel of the musical arrangement. The imagery in some of the lyrics also conjures up the psychedelic music from the 60’s for me. There’s interesting things going on with this track, but I’m glad it was kept on the short side. If it had gone on for much longer, I would have found the song to be obnoxious rather than interesting. While this is a track I wouldn’t go out of my way to listen to much, I give The Verve credit for trying to do something a little different here.

“Space And Time” is another ballad on the album, with lyrics that seem to reflect on two people in a long-term relationship based solely on a physical relationship. However, both people in the relationship appear to be afraid to be left alone. This is another song where Richard’s vocals kind of sound like he’s trying to mimic Bono. However, the production on this one doesn’t quite sound like something that U2 would release, so it’s easier to tell that isn’t a song by U2. It’s a nice ballad, though. Listening to the album up to this point, it seems that ballads were a strong point for The Verve at this point in their career. Even with the U2 comparison, I still found that I enjoyed “Space And Time,” and I think it’s another strong song on Urban Hymns.

Next is “Weeping Willow,” a midtempo track with a musical arrangement that includes intense and rich sonic layering. There’s something about the musical arrangement and the vocal delivery that kind of makes me think of Mike Peters and The Alarm for some reason. Listening to the song and reading through the lyrics, “Weeping Willow” seems to have references to depression and possibly to suicide. The music has an almost mournful feel to it, which would work for a lyrical theme of depression. In my opinion, “Weeping Willow” is another standout track on the album.

This is followed by “Lucky Man,” which was released as the third single from Urban Hymns. In the United States, it only received a promotional release, which made it ineligible for the Billboard Hot 100 due to the chart rules that were in effect at the time. However, the song did manage to make it onto two of Billboard’s airplay charts, peaking at number 16 on the Modern Rock Tracks chart and at number 14 on the Triple-A chart. Lyrically, the song seems to be about the moment in a relationship where it moves beyond the “newness phase.” As I listened, I could hear that Richard’s vocal performance perfectly complements both the lyrics and the musical arrangement. This song was a perfect choice for a single release, especially for the American alternative and Triple-A radio formats. While it’s a good song, and I like it, I can hear why this didn’t have any real success at American pop radio. It just didn’t fit in with what was going on in pop music here at the time. Even so, I think that “Lucky Man” is great track on this release.

“One Day” is a slower track with a more laid-back musical arrangement that has a soothing feel to it. Lyrically, the song seems to have a theme needing to face the storms and difficulties in life head-on, even if doing that is difficult. With this kind of a lyrical theme, the soothing vibe of the musical arrangement makes sense. The vocal performance does a grab job of capturing the lyrical theme while complementing the vibe of the musical arrangement. “One Day” is another song that I enjoy on Urban Hymns.

Next is “This Time,” a slow-to-midtempo alternative rock track that sounds like it has some slight hints of Indian or Mideastern influence in its musical arrangement. Lyrically, the song seems to see a speaker looking back on their life and having some regrets. However, as the song progresses, the speaker appears to realize that they don’t need to dwell on their regrets and to try to find a way forward in their life. I like this lyrical message, and the musical arrangement has a good vibe to it, but the song’s outro runs a little on the long side and with only minor variations in the outro’s lyrics, it makes it sound more redundant than it really is. “This Time” isn’t a bad song, but it could have been a little bit stronger.

This is followed by “Velvet Morning,” a slower track that starts out with a more minimal arrangement before becoming fuller around two minutes in. The vocal delivery in those first couple of minutes sound like it’s being dragged out, and I found that to be a distraction. Unfortunately, the slowed down vocal delivery returns during the third verse before picking back up during the chorus. I know that Richard was going for an effect here, which appears to match the vibe that the lyrics and music are going for, but I personally found that slowed down delivery to be a bit distracting. “Velvet Morning” isn’t necessarily a bad song, but it just doesn’t grab me personally.

The final listed track on the album is “Come On,” a midtempo alternative rock track. Musically, there’s a great mix of a hazy wall-of-sound guitar, an almost funky-sounding bass groove, and percussion. Both the musical arrangement and the lyrics have a bit of a swagger to them, and Richard’s vocal performance perfectly captures this attitude. I like the sound of this song, and it was a great way to end the album. Unfortunately, this doesn’t close the album, because it was decided to jump onto the 90’s bandwagon of including a “hidden track” on an album. In this case, the track time of the “Come On” displays as being around 15 minutes, but the actual song itself is only about six-and-a-half minutes. After some blank space, the “hidden track” begins.

The “hidden track is “Deep Freeze.” It’s actually the shortest song on Urban Hymns, clocking in at two minutes and 13 seconds. The track is an instrumental, that, quite frankly, doesn’t really add anything to the album. “Come On” was the perfect album closer, and tacking “Deep Freeze” on at the end feels pointless and it’s just an odd note to end an album on. This release would have been stronger if it had been left off.

After listening to Urban Hymns, I found it to be a bit of a mixed bag. There are some great tracks on here, some that would have been a little stronger if some minor changes were made to them, and there were only a couple of tracks on here, outside of the hidden one, that I felt were weaker than the rest of the album. Urban Hymns shows a lot of promise when you first put it in, but by the time I made it to the end, I found that the release didn’t entirely deliver on the promise that “Bitter Sweet Symphony” sets.

Even with its faults, I would still recommend The Verve’s Urban Hymns to listeners who are interested in learning about the music from the later 90’s, especially from the Britpop and alternative music genres, because it’s a good example of what was coming out for those scenes during the era.

(reviewed by Lesley Aeschliman on May 26, 2026)

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I was in the 10th grade and about to turn 16 years old when “I Don’t Wanna Cry” was released as a single. Since I had liked the previous three singles from the album, I wasn’t surprised that I liked this one as well. However, I think what really grabbed me was how Mariah focused more on her lower range for this one in comparison to the other singles, and that helped to make this stand out to me. I also found the lyrics to be relatable, with a musical arrangement that sounds influenced by Latin soul. The sound of this pop ballad, combined with the lyrics and Mariah’s vocal performance, created a standout track that still holds up 35 years later.

Looking back, it’s not surprising that “I Don’t Wanna Cry” became Mariah Carey’s fourth consecutive number one hit on the Billboard Hot 100. At this point, she was the “next big thing,” and her name and previous success guaranteed that pop radio programmers would add this song to their playlists. However, I think the song is strong enough on its own without those factors that it more than likely would have been a hit without them. The lyrics are relatable, and Mariah’s strong vocal performance sells the speaker’s emotions. Also, the sound of the song fit perfectly with what was doing well at American pop radio at the time.

“I Don’t Wanna Cry” would be the final single released from Mariah Carey’s self-titled album in the United States. However, the United Kingdom and several European countries got a fifth single with “There’s Got to Be a Way.” However, about three month after “I Don’t Wanna Cry” hit number one on the Billboard Hot 100, Mariah would release the lead-off single from her second album: “Emotions.”

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However, I do have some familiarity with both Orangestar and Kase through listening to and reviewing “Petals,” the opening theme song for the Agents of the Four Seasons: Dance of Spring anime. Admittedly, I wasn’t really sold on “Petals,” but I’m still willing to give another song by them a chance because it may not have been a good representation of what they have to offer.

Musically, “Hana Ikada” is a J-pop ballad that has a strong focus on piano, strings, percussion, and acoustic guitar for its arrangement. The music for this track is beautiful, and it has the right sound for the ending theme of an anime. However, that doesn’t mean that this sounds generic. Overall, Kase gives a pretty good vocal performance, although there are a couple of lines in the chorus where it sounds like she’s trying to hit a note that’s just outside of her range.

I listened to “Hana Ikada” on Spotify, so I didn’t have easy access to an English translation of the lyrics. However, I did locate an English translation of the lyrics that’s been posted onto the internet. Reading through the translation, the lyrics include a couple of references to “the seasons” and to “spring,” which feel appropriate for the anime that it’s being used for. The overarching theme seems to deal with the passing of time and how it can affect a relationship.

Personally, I thought that “Hana Ikada” was a stronger song than “Petals,” and if I was watching the simulcast for Agents of the Four Seasons: Dance of Spring, it’s a song that I wouldn’t mind hearing each week.

Fans of Orangestar, Kase, and of the Agents of the Four Seasons: Dance of Spring will likely have the greatest appreciation for “Hana Ikada,” but I think that J-pop fans may find something to enjoy here as well. As for western music audiences, I believe the song could potentially appeal to pop music listeners who don’t mind hearing a song that’s being performed in a foreign language.

(reviewed by Lesley Aeschliman on May 24, 2026)

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