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5 Surprising Facts About Tom Petty and the Heartbreakers’ ‘Southern Accents’

Eric Alper

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Jul 6, 2025

5 Surprising Facts About Tom Petty and the Heartbreakers’ ‘Southern Accents’

Released in March 1985, Southern Accents plays like a dream drifting through the American South—part concept album, part cosmic detour. What begins in the tradition of Petty’s roots soon opens into something stranger: a collection shaped by sitars, heartbreak, funk grooves, and broken walls. It never follows a straight line, and that’s what makes it so unforgettable. Here are five facts about Southern Accents that go deeper than radio hits and music video memories.

1. It starts as a Southern concept album, then welcomes outsiders
Petty sets out to write an album entirely focused on the South—its heritage, its contradictions, its soul. But when Dave Stewart of Eurythmics enters the mix, songs like “Don’t Come Around Here No More” shift the tone into more psychedelic terrain. Several tracks originally written for the album stay unreleased or end up elsewhere, showing how the project continues to evolve.

2. Petty’s broken hand changes the course of the sessions
While working on “Rebels,” Petty punches a wall in frustration, breaking his hand badly enough to require surgery. The wound comes not from anger toward a person, but from creative tension. He believes no studio take captures the feel of his original demo, and the moment reflects just how much he invests in every song.

3. “Don’t Come Around Here No More” begins with a night at Stevie Nicks’ house
Dave Stewart visits Stevie Nicks after a show and hears her say, “Don’t come around here no more,” following a breakup with Joe Walsh. That phrase becomes the song’s foundation. Stewart and Petty collaborate in a studio filled with synths, string players, and unexpected energy. The song ends up sounding like nothing else in Petty’s catalog.

4. The title track finds its way to Johnny Cash
“Southern Accents” holds a quiet power. It reflects Petty’s vision of pride and loss, grounded in a place he understands deeply. Years later, Johnny Cash covers it on Unchained, bringing a weathered voice and new weight to the lyrics. The song lives on as a modern Southern hymn.

5. The album cover draws from Civil War memory
The cover features Winslow Homer’s 1865 painting The Veteran in a New Field, showing a lone soldier returning to farm life after war. The image holds space for reflection and resilience, offering a visual that matches the record’s mood. It doesn’t shout, but it stays with you.

Southern Accents moves through multiple musical landscapes but never loses its compass. It speaks through fuzzed-out riffs and delicate ballads, dreamlike textures and dusty details. The songs carry stories of longing, place, and persistence—proof that the American South always offers more than one sound.

5 Surprising Facts About R.E.M.’s ‘Fables of the Reconstruction’

Eric Alper

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Jul 6, 2025

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5 Surprising Facts About R.E.M.’s ‘Fables of the Reconstruction’

By 1985, R.E.M. had already helped define American indie rock—and then they veered left. Fables of the Reconstruction (or is it Reconstruction of the Fables?) saw the band leave their Athens, Georgia roots behind—physically, at least—recording in a rainy London studio with legendary folk producer Joe Boyd. What emerged was a dense, haunting, and surreal album that wrapped Southern Gothic storytelling in jangly guitars and ghostly murk. It was weird. It was brilliant. It was R.E.M. at their most evocative. Here are five things you might not know about this eerie masterpiece of oddball Americana.

1. The Title Reads Both Ways—And So Does the Cover
Is it Fables of the Reconstruction or Reconstruction of the Fables? Yes. The album’s packaging deliberately lists both titles, with each side of the record acting as a “front.” This mirrored the album’s lyrical obsession with duality: myth vs. memory, home vs. exile, truth vs. tale. In R.E.M.’s world, fables get twisted—and reconstructed.

2. The Band Wanted Van Dyke Parks, But Got Joe Boyd
Michael Stipe had his heart set on working with Van Dyke Parks, known for Jump! and his deep ties to American folklore. Instead, the band landed Joe Boyd—producer for Nick Drake and Fairport Convention. Boyd’s meticulous approach clashed with R.E.M.’s usual spontaneity, and the cold London weather didn’t help. Still, the resulting friction added depth and mood.

3. “Life and How to Live It” Was Based on a Real Eccentric’s Book
One of the album’s most energetic songs was inspired by Brivs Mekis, an Athens man who literally wrote the book on living—titled Life: How to Live. He built a house divided into two sides, living in one while writing about the other. After his death, hundreds of unsold copies were found. R.E.M. turned his peculiar life into art.

4. “Green Grow the Rushes” Was Written as a Pact With Natalie Merchant
Stipe and 10,000 Maniacs’ Natalie Merchant made a pact: both would write songs about the genocide of Native Americans. Merchant penned “Among the Americans”; Stipe delivered “Green Grow the Rushes.” Wrapped in Byrds-like harmonies, the song blends poetic protest with haunting beauty—a cornerstone of R.E.M.’s gift for subtle activism.

5. “Driver 8” Still Echoes—With Trains, Harmonica, and Homage
“Driver 8” might’ve missed the Hot 100, but it remains one of R.E.M.’s most iconic tracks. Its imagery of trains and Southern landscapes captures the record’s wandering spirit. Peter Buck later admitted he unintentionally recycled the chords for “Imitation of Life,” proving that even decades later, Fables keeps riding the rails through R.E.M.’s career.

From train whistles to shadowy dreamscapes, Fables of the Reconstruction is the sound of a band haunted by their roots and boldly exploring them at the same time. It’s eerie, poetic, and unshakably Southern—even when recorded in a gray London studio. Like a back porch story told at dusk, this album lingers long after the needle lifts.

5 Surprising Facts About John Fogerty’s ‘Centerfield’

Eric Alper

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Jul 6, 2025

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5 Surprising Facts About John Fogerty’s ‘Centerfield’

After nearly a decade away from the spotlight, John Fogerty stepped back up to the plate in 1985 with Centerfield—and crushed it out of the park. His first solo album in nine years, Centerfield marked a fiery return for the Creedence Clearwater Revival legend. Fueled by swamp rock riffs, baseball lore, and a righteous sense of justice (musical and legal), the album proved Fogerty still had one of the most distinctive voices—and visions—in rock. But behind the crack of the bat and the top-10 hits are stories just as rich as the grooves. Here are 5 things you might not know about Centerfield.

1. Fogerty Played Every Single Instrument—Every Note
Drums? That’s John. Bass? John again. Guitar, keys, percussion? All Fogerty. In true garage hero fashion, he recorded the entire album himself using overdubs, holed up in solitude and determination. After years in legal limbo, this was Fogerty reasserting his independence—one track at a time.

2. “Centerfield” Was Named Before It Was Written
The title track, which became an American sports anthem, started as nothing more than an album title. Fogerty hadn’t even written the song yet, but the name stuck in his head like a rally chant. The famous opening riff came later—and when it did, the rest of the tune raced out like a runner stealing home.

3. “Zanz Kant Danz” Turned Into a Legal Firestorm
Originally titled “Zanz Kant Danz” as a jab at Fantasy Records head Saul Zaentz, the track featured a dancing pig who “can’t dance but he’ll steal your money.” After Zaentz threatened to sue, Fogerty changed it to “Vanz Kant Danz.” But the lawsuit saga didn’t stop there…

4. Fogerty Was Sued for Copying… Himself
In one of rock’s most surreal legal battles, Fogerty was sued for allegedly plagiarizing his own Creedence song, “Run Through the Jungle,” with Centerfield’s lead single “The Old Man Down the Road.” In court, Fogerty brought his guitar, played both songs live, and won. The case set a precedent: artists could win legal fees even without proving malicious intent.

5. The Album Is Dedicated to a Kid Who Dreamed of a Triangle
Ever heard of Gossamer Wump? He’s the fictional character Fogerty dedicated the album to—a kid who wanted to be a musician and chose to master the triangle. “After ten years of courage, determination, and hard work, Gossamer plays ‘tingle,’” Fogerty said. “No difference? Maybe not. But Gossamer could hear it.” Just like Fogerty could.

Centerfield is a big statement of musical freedom, of resilience, and of love for both rock & roll and the American spirit. From courtrooms to ballparks, Fogerty swung hard with this one—and nearly 40 years later, we’re still singing, “Put me in, coach—I’m ready to play.”

5 Surprising Facts About Prince’s ‘Around the World in a Day’

Eric Alper

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Jul 6, 2025

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5 Surprising Facts About Prince’s ‘Around the World in a Day’

How do you follow up Purple Rain—one of the most iconic albums of the 1980s? If you’re Prince, you don’t. You sidestep the spotlight, vanish into the paisley ether, and drop Around the World in a Day, a record that refused to chase chart success and instead embraced psychedelic mystique, emotional vulnerability, and sonic risk. While the world was waiting for Purple Rain 2.0, Prince gave them something stranger, denser, and more surprising. Here are five things you might not know about the album that blurred the lines between pop and the surreal.

1. Recording Began Before Purple Rain Was Even Finished
Prince wasn’t done with Purple Rain before he’d already started Around the World in a Day. Some songs were being demoed and tracked while his previous masterpiece was still in the works. He was always one step ahead—and this album proved he had no interest in standing still.

2. The Title Track Was Sparked by Lisa Coleman’s Brother
The lush, Middle Eastern–inflected title track was born from a demo by David Coleman, brother of Revolution keyboardist Lisa Coleman. That initial sketch inspired Prince to build the sonic world of the album around its whimsical, mystical feel. A true family affair that helped set the tone for the entire project.

3. “Paisley Park” Was Recorded Just Three Months After Purple Rain
The ethereal “Paisley Park” came to life quickly—just three months after Purple Rain was released. Featuring violin from Novi Novog and vocal support from Wendy & Lisa, the track foreshadowed the creation of Prince’s actual Paisley Park studio and label, solidifying his vision of a creative utopia.

4. The 12” of “America” Played Until the Tape Ran Out
The extended version of “America” runs over 21 minutes—because Prince and the Revolution literally played until the recording tape ended. That jam session was raw, unfiltered energy, caught in real time. The tape fades just before it physically runs out, capturing the band’s maximalist spirit.

5. “Pop Life” Features a Riot Sample Prince Couldn’t Explain
In “Pop Life,” the line “throw the bum out!” comes from a crowd sound effect that fans long believed was recorded during a disastrous Rolling Stones opening slot. In truth, it came from a 1982 horror film. When asked why he used it, Prince simply said: “Good question — me too :)”

Around the World in a Day wasn’t a sequel to Purple Rain—it was a rebellion against the very idea of one. It challenged expectations, defied commercial logic, and let Prince explore deeper layers of sound, spirituality, and identity. Nearly 40 years later, its paisley palette still feels bold, bizarre, and totally, unmistakably Prince.

5 Surprising Facts About John Mellencamp’s ‘Scarecrow’

Eric Alper

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Jul 6, 2025

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5 Surprising Facts About John Mellencamp’s ‘Scarecrow’

When Scarecrow hit shelves on July 31, 1985, John Cougar Mellencamp wasn’t just writing hits—he was writing history. With three Billboard Top 10 singles and a sound that bridged heartland rock and American protest music, the album became a cultural touchstone of the mid-80s. But behind the roaring success of “Small Town” and “R.O.C.K. in the U.S.A.” lies a wealth of lesser-known stories that shaped its creation and legacy.

1. The Band Rehearsed 100 Songs From the ’60s—On Purpose
Before stepping into the studio, Mellencamp had his band rehearse about 100 rock and roll songs from the 1960s. The goal? To absorb the essence of that era’s music and channel it into something fresh. Producer Don Gehman called it a way to “learn all these devices from the past and use them in a new way.”

2. “Rain on the Scarecrow” Was Mellencamp’s Political Turning Point
Co-written with lyricist George M. Green, “Rain on the Scarecrow” marked Mellencamp’s shift from personal storytelling to social commentary. The song tackled the 1980s American farm crisis head-on, drawing from Mellencamp’s own Indiana roots. It later became a signature track at the first Farm Aid concert, which he co-founded.

3. “Small Town” Was Written in a Laundry Room
Mellencamp wrote “Small Town” in the laundry room of his house while guests laughed upstairs. Using an electronic typewriter that beeped at typos, he crafted lyrics about growing up in Seymour, Indiana. What started as a joke among friends became one of the most beloved anthems of rural pride.

4. “Lonely Ol’ Night” Took Its Title From a Paul Newman Film
The title for “Lonely Ol’ Night” came from a line in Hud, the 1963 film starring Paul Newman. Mellencamp had watched the movie repeatedly and was deeply influenced by its themes of strained family ties and isolation. It gave the song emotional depth—and also a title that felt familiar and evocative.

5. “R.O.C.K. in the U.S.A.” Almost Didn’t Make the Album
Mellencamp nearly cut “R.O.C.K. in the U.S.A.” from Scarecrow entirely. He thought it was too light-hearted for an album packed with weighty themes. But at the last minute, he added it to the cassette and CD editions as a bonus track—only for it to become one of his biggest hits.

Scarecrow may have reached #2 on the Billboard 200, but its cultural and emotional resonance can’t be measured on a chart. From political protest to personal reflection, the album captures an era of reckoning and reinvention. And as Mellencamp said himself, Scarecrow was the moment he realized what he wanted to say. Turns out, it was something we all needed to hear.

Sophie Ellis-Bextor Glows With Disco-Funk Joy On New Single ‘Relentless Love’

Music

Eric Alper

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Jul 6, 2025

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Sophie Ellis-Bextor Glows With Disco-Funk Joy On New Single ‘Relentless Love’

After returning with disco-pop anthem “Freedom of the Night” last year, Sophie Ellis-Bextor has shared her first new music of 2025 with joyous new song “Relentless Love” out now.

“Relentless Love” is a buoyant disco-infused funk-pop track that builds through catchy grooves and luminous synths to an energetic and euphoric chorus. A fresh take on Sophie’s distinctive sound, the track was written and produced by Karma Kid [Rudimental, Shygirl] and Baz Kaye [Jessie Ware, The Blessed Madonna], alongside writing from Sophie and JinJin [Raye] and mixing by David Wrench [Jamie xx, Hot Chip].

Sophie says, “‘Relentless Love’ came from my love of fun fairs and the way that falling in love and going on a ride can be a similar thrill. Ferris wheels, roller coasters… all of them can make your perception of reality a little wonky and give you a rush. They are sometimes unpredictable but also an exciting way to shift your perspective for a little minute. Plus, it’s a great place for a date… hence the line ‘you know it’s sweet as caramel, sitting beside you on this carousel.’ There’s definitely a romance in getting on a ride together and seeing where it will take you.”

The glittering anthem “Freedom of the Night” signalled a new era for Sophie with a confident return to her iconic and esteemed disco-pop sound, embracing her musical roots across pop, disco, and dance. The Radio 2 A-listed single saw Sophie back together with longstanding collaborator Sophie Muller on the music video, which celebrated the renowned “Murder on the Dancefloor” video.

With an impressive musical career that spans over an amazing 25 years, Sophie has achieved five Top 10 albums and eight Top 10 singles. With hits including “Murder on the Dancefloor,” “Take Me Home,” “Get Over You,” “Heartbreak (Make Me a Dancer),” and many more. Most recently, after featuring in the epic final scene of Emerald Fennell’s film Saltburn, Sophie’s beloved 2001 hit “Murder on the Dancefloor” saw a huge resurgence, garnering a Platinum Certification in the US and 2x BRIT Platinum in the U.K., climbing to #2 on the Official U.K. Singles Chart, #51 on the Billboard Hot 100, #10 on Billboard Global 200 Chart, Top 5 on Billboard Hot Dance/Electronic Songs Chart, and #1 on the Spotify Viral 100 Chart, and amassing over 13 billion global streams across all streaming and social platforms. It was the 16th biggest song of 2024 and the biggest song of 2024 for a British female artist. Not to mention, she performed the track in New York’s Times Square on Dick Clark’s New Year’s Rockin’ Eve.

Chaparelle Blaze Into Alt-Country Spotlight With Debut Album ‘Western Pleasure’

Music

Eric Alper

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Jul 6, 2025

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Chaparelle Blaze Into Alt-Country Spotlight With Debut Album ‘Western Pleasure’

Alt-country supergroup, Chaparelle today released their newest single “Playing Diamonds Cashing Checks”. The new single comes ahead of their highly-anticipated debut album, Western Pleasure, out now, courtesy of Mom+Pop Music.

In a harmonious union, Texas-based musicians Zella Day, Jesse Woods and Beau Bedford joined forces in 2023 to form alt-country supergroup Chaparelle. What began as a songwriting partnership between Zella Day and Jesse Woods quickly evolved into a deeper connection and the couple is now engaged. The couple soon began working with acclaimed producer Beau Bedford (known for his work with Orville Peck, Wyatt Flores and more) and Bedford soon joined the band, solidifying the group’s distinct sound, vocal prowess and celebrated contributions to their distinct genres.

Chaparelle channels the golden age of country music, weaving a melodic narrative and timeless storytelling with a modern, sultry edge. Their live performances-sensual, enchanting, and undeniably captivating-have quickly built a devoted following.

Fresh off standout performances at Luck Reunion and SXSW, Chaparelle continues to build momentum following the release of their buzzed-about singles “Playing Diamonds Cashing Checks,” “Inside The Lines,” “Bleeding Hearts,” and “Sex and Rage.” Now, the trio sets their sights on the release of their highly-anticipated debut album, Western Pleasure, arriving Friday, April 18. The band wrote and recorded their music, produced entirely by Bedford, in their home city of Austin, Texas.

The band on “Western Pleasure”: Born and raised in the central Texas Hill Country, our album is a celebration of life. Through love’s quarrels and victories is a deep well of inspiration that keeps us together. Like a country song so simple and true is the spirit of Chaparelle.

Prior to the album, Chaparelle will two step across Texas stopping in Houston, Austin and Dallas and following the release, the supergroup will kick-off an incredible calendar hitting stops all over the country.

7/25/2025 | FloydFest | Floyd, VA

8/10/2025 | Rocky Mountain Folks Festival | Lyons, CO

9/17/2025 | Tractor Tavern | Seattle, WA

9/18/2025 | Wonder Ballroom | Portland, OR

9/24/2025 | Slo Brew Rock | San Luis Obispo, CA

9/26/2025 | Pappy + Harriet’s | Pioneertown, CA

10/16/2025 | Fine Line | Minneapolis, MN

10/17/2025 | High Noon Saloon | Madison, WI

10/18/2025 | The Stache, Grand Rapids | MI

10/20/2025 | Turntable | Indianapolis, IN

10/21/2025 | Thunderbird Café & Music Hall | Pittsburgh, PA

10/22/2025 | World Cafe Live | Philadelphia, PA

10/24/2025 | The Sinclair | Cambridge, MA

10/25/2025 | Music Hall of Williamsburg | Brooklyn, NY

10/28/2025 | The Atlantis | Washington, DC

10/30/2025 | The Grey Eagle | Asheville, NC

10/31/2025 | Neighborhood Theatre | Charlotte, NC

11/1/2025 | The Charleston Pour House | Charleston, SC

11/5/2025 | Terminal West | Atlanta, GA

11/6/2025 | Saturn | Birmingham, AL

11/7/2025 | The Basement East | Nashville, TN

12/3/2025 | Crescent Ballroom | Phoenix, AZ

Jason Scott & The High Heat Blaze Through Americana On ‘American Grin’

Music

Eric Alper

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Jul 6, 2025

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Jason Scott & The High Heat Blaze Through Americana On ‘American Grin’

Jason Scott & The High Heat release their highly anticipated new album, American Grin, listen here. The 13-track record cements the band’s reputation as one of the most exciting voices in modern Americana, blurring the lines between roadhouse country, heartland rock, and soulful storytelling.

Led by former Pentecostal pastor-turned-frontman Jason Scott, the band delivers a bold, cinematic sound on American Grin-one that’s been praised for its humor, grit, and emotional depth. Written during a period of national and personal upheaval, the album reflects on the absurdity, heartbreak, and resilience of everyday American life with a sharp eye and a wry smile.

“This record came from a heavy time,” says Scott. “We wanted to write something that still had hope and color to it-to zoom out and show a bit of the weird, wonderful, and messy landscape we’re all living in.”

Produced by longtime collaborator Taylor Johnson, American Grin was recorded between Oklahoma City and the Texas borderlands, infusing the project with sonic influences that range from Tex-Mex textures and spaghetti-western twang to Wilco-inspired psychedelia and ZZ Top-worthy guitar riffs.

Songs like “Golden” and “Bernadette” shine with stadium-sized hooks, while tracks like “Yardwork” and “Me & The Bottle (Hungover You)” bring levity and soul to familiar themes. The sweeping closer “Maria” pushes the boundaries of the genre entirely, ending the album with a lush, symphonic finale.

With American Grin, Jason Scott & The High Heat take their biggest creative leap yet. The band was recently named Emerging Group of the Year at the Texas Music Awards and is currently touring in support of the album, including a run of dates opening for Dwight Yoakam.

American Grin Track Listing:
“Jimmy” (Jason Scott, Taylor Johnson)
“High Country” (Jason Scott, Taylor Johnson)
“Golden” (Jason Scott, Taylor Johnson)
“Me & The Bottle (Hungover You)” (Jason Scott, Taylor Johnson)
“Interstate of Mind” (Jason Scott, Taylor Johnson)
“Yardwork” (Jason Scott, Taylor Johnson)
“Natalie” (Jason Scott, Taylor Johnson)
“Intermission” (Jason Scott, Taylor Johnson)
“Bernadette”(Jason Scott, Taylor Johnson)
“Too Wasted” (Jason Scott, Taylor Johnson)
“If We Make Til The Mornin'” (Jason Scott, Taylor Johnson)
“Get In Line” (Jason Scott, Taylor Johnson)
“Maria” (Jason Scott, Taylor Johnson)

Eric Hilton Crafts Dreamlike Sonic Journey On New Album ‘Midnight Ragas’

Music

Eric Alper

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Jul 6, 2025

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Eric Hilton Crafts Dreamlike Sonic Journey On New Album ‘Midnight Ragas’

Montserrat House Music and trip-hop pioneer Eric Hilton’s release of Midnight Ragas, the godfather of downtempo’s brand new “compilation mix” is out now.

Featuring three different vocalists – Puma Ptah, Natalia Clavier and Kristina Westernik-Dandridge of The Infinite Daisy Chains – and lyrics sung in French, Spanish and English, Midnight Ragas has the distinct feel of international exotica, a sound that Hilton has cultivated over 30 years of album releases.

“Working with Natalia, Puma and Kristina was so great on this project, because I had all these vocal flavors to choose from,” Hilton says of his experience recording the album. “There are instrumentals on the record alongside the vocal tracks which vary the mood and pacing. To create an experience, you need to have moments in the song sequence that have a relational mood of some kind, maybe for three tracks, and then slip into another mood. Different languages and singers, changing tempos and sounds – there’s a lot of that on this record, and that’s why it sounds like a compilation album, even though it’s entirely my music.”

Compilation albums have always been a great tool for discovery, especially in electronic music. A couple of familiar artists or tracks, sequenced amongst unknown treasures, taking the listener on a satisfying journey through different moods and sounds. It’s not easy to make a good compilation album, one bad track can throw off the whole vibe, the flow. A great compilation album can elevate the individual tracks and put them into a context where the whole is greater than the sum of its parts.

With Midnight Ragas, Eric Hilton has made a great compilation album. Except not really. We’ll explain.

Midnight Ragas is a new album by the downtempo electronic music producer, with vocal contributions by longtime collaborators Natalia Clavier and Puma Ptah, along with newer recruit Kristina Westernik-Dandridge. And while the tracks are all new Eric Hilton recordings, the album sounds like a killer compilation record, with shifting tempos, moods, vocalists, and languages across twelve tracks. The vintage age of mix CDs may be long over, but listen to Midnight Ragas and you’ll think it never left.

Hilton has plenty of experience with compilation albums. Tracks by Thievery Corporation, the downtempo combo Hilton co-founded in 1995, have been featured on over 600 mix CDs, according to music database website Discogs. “I loved compilations back in the day. You bought them to get turned on to new sounds, or you liked the artist compiling it. ‘Midnight Ragas’ was not conceptualized as a compilation; the album is a moment of eclecticism,” says Hilton.

The opener, “Life In the Deep End”, hits like an even more laid-back Khruangbin, soundtracking a vintage Billy Dee Williams Malt liquor advert. Next up: “Leave it all”, a ballad in the Massive Attack/Zero 7 wheelhouse – minimal groove, smart sounding, sounds like a single. Puma Ptah pours it on smooth here. Track three is “Je ne t’aime plus” (I don’t love you anymore) – imagine it’s 1970 and you’re Alain Delon or Catherine Deneuve, driving a light gold Ferrari Daytona along the coast from Cannes to Monaco. Clavier provides the vocal accompaniment, singing for Hilton in French for the first time. The third song is “Behind My Eyes” (’70s crime flick meets ambient drum & bass). “I love the wildness of this track, we really nailed the production on this one, it’s tough and sets the tone for the next few tracks,” says Hilton.

“All I Want” also features Ptah; the track is an ass-shaking, purple crushed velvet groove, hard but smoooooth. Track six, “Burkina Faso”, will be a standout track for longtime Thievery fans, a tough D.C. bounce and “you know what time it is” feel. Things start to shift with the title track – seven songs in and things start sounding mysterious on “Midnight Ragas”. “Traditional ragas are improvisational but repetitive; this song somehow is repetitive but doesn’t hit you that way,” opines the producer. Next up: “Sol Interior”, with gorgeous vocals from Clavier amid Ipcress File/John Barry twinkles. It sounds a bit like a great lost track from Air’s classic debut Moon Safari.

The album closes out with a trifecta of late-night slow burners. “Madame Asha” is classic trip-hop, a nod to legendary Indian American vocalist Asha Puthli. “L’Ocean” stays on the ’90s trip-hop wavelength and is a standout for Hilton, as good as any track of the era/genre. And it all comes down to “Beautiful Moment”, unquestionably the most romantic track on the album. Vocals by Westernik-Dandridge summon thoughts of the late summer evening sun, slow kisses and dew drops on agave leaves. It’s as perfect a sonic representation of apres-release afterglow that you’re likely to hear.

And then it’s all over, sigh … unless you’ve put your CD player/turntable/streamer on auto repeat, which is the right idea. Midnight Ragas is the compilation album that isn’t; perhaps that’s why it’s so listenable, and so unforgettable.

Midnight Ragas track listing:
Life (In The Deep End)
Leave It All feat. Puma Ptah
Je ne t’aime plus feat. Natalia Clavier
Behind My Eyes feat. Kristina Westernik-Dandridge
All I Want feat. Puma Ptah
Burkina Faso
Midnight Ragas
Sol Interior feat. Natalia Clavier
Galactic Shine
Madame Asha
L’Ocean feat. Natalia Clavier
Beautiful Moment feat. Kristina Westernik-Dandridge

HAYS Kicks Off 2025 With Heartfelt Country Rocker “Driving Myself Insane”

Music

Eric Alper

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Jul 6, 2025

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HAYS Kicks Off 2025 With Heartfelt Country Rocker “Driving Myself Insane”

Rising country star HAYS shared his new single “Driving Myself Instead” via River House Artists. His first release of the year, “Driving Myself Insane” is a slow burning country rocker that follows a slew of singles HAYS released in 2024, including his debut single, “Lettin’ Go.”

“‘Driving Myself Insane’ highlights the honest struggles of a breakup,” HAYS explains. “Where drinking starts as the coping mechanism for the sorrow, it ends up bringing back even more memories of a lost love. This downward spiral of drinking to forget, but only remembering more, ends up driving us to a place of regret, sorrow, and ultimately, insanity. I’m excited to kick off 2025 with one of my favorite songs that I’ve written. There’s a lot more music in the pipeline!”

The 24-year-old artist from Jacksonville, Florida spent 2024 honing his craft by performing over 200 shows across the Southeast, developing a unique country rock sound that has drawn comparisons to artists like Brantley Gilbert and Jason Aldean.

Having enjoyed social media success on TikTok with an acoustic video taken on his bathroom floor, which racked in over 800K views and 100K likes, HAYS released his debut single “Lettin’ Go” on March 15, 2024. The track boasted over 100K streams within the first month of its release. His latest single “Town Near You,” released at the end of last year, showcases his continued growth and commitment to his craft. HAYS has shared the stage with stars like Dylan Marlowe, Ella Langley, and Hudson Westbrook, continuing to make a name for himself in the country music scene.