Year in Review: Top 100 Lubbock Songs of 2013: 100-81

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December 17, 2013 by thomasdmooney

Printby: Thomas D. Mooney
Editor-in-Chief

Today, we begin our endeavor on what Lubbock music looked and sounded like for the last 365 days. Last year, we brought you our Top 40 Lubbock songs of the year. This one, we’re expanding to 100–expanding, not watering down I mind you. Why 100 and not 40? Well, to be perfectly honest, because there’s been a bunch more released. 

We’ll be posting 20 songs a day for the remainder of the week. 100-81 sets things in motion today. You can find each song in the Spotify playlist below. If they’re not on Spotify, you’ll find a Bandcamp, Soundcloud, etc link.

KaitlynCannon100. “In The End” Kaitlyn Cannon
Cannonballed

Kaitlyn Cannon’s voice has just the right amount of delicateness without coming off as too fragile or frail. “In The End” finds itself nestled in the middle of Cannon’s Cannonballed. It’s a little edgy and hints of angst that’d find itself comfortable in the middle of a playlist of Liz Phair (Think Exile In Guyville, not “Why Can’t I”) and Rilo Kiley songs. I think Cannon, like most songwriters, is still trying to figure out exactly all she can and wants to do. “In The End” is a sign that it’s coming sooner rather than later.–THOMAS D. MOONEY, New Slang

HaydenHuseClairemontJail99. “Clairemont Jail” Hayden Huse
Clairemont Jail

The Clairemont Jail is just like how Hayden Huse describes. It’s desolate. It’s in the middle of no where and there’s only small signs of human existence. Located in the ghost town of Clairemont, Texas in Kent County (Last US Census had Kent County with a population of 808 people), Huse has lines that describe the place to a T (“There’s a ’67 Chevrolet that’s rusted to the core, it’s been tattooed with graffiti on a shotgun peppered door” for example). Huse isn’t faking it with second hand descriptions. And while that’s all great, it doesn’t get really good until Huse goes and develops some photographs he snaps of the place.–THOMAS D. MOONEY, New Slang

CharlesMoonSlumpy98. “Slumpy” Charles Moon
Single

Like just about anything hip-hop producer Charles Moon has released or worked on, we find him deep in space. “Slumpy” is no different. Release wise, Moon’s had a pretty quiet 2013. “Slumpy” was released over eight months ago and is by all intents and purposes, the last thing he’s shown the world. While the simple bass line and chill wave crashing are intoxicating, “Slumpy” feels like a song to just hold us over for whatever Moon has planned for 2014. Course, you won’t see us complaining about “Slumpy” either. Patiently waiting and content.–THOMAS D. MOONEY, New Slang

MohicansImaginarium97. “Iniuriam” The Mohicans
Single

We haven’t heard much from The Mohicans since they released their debut mixtape, Uncas, a couple years back. ’13 saw an explosion of single tracks, a mixtape, and a plethora of talk about future releases. “Iniuriam” may be the duo’s most ambitious track to date. Coming in at over six minutes, it gives Devan Bernard and Dave Morgan plenty of time to go back and forth with what’s on their mind. More than anything, you see Bernard and Morgan exploring more hip-hop territory than the usual duo comparisons in hip-hop. Yes, it’s Outkast. It’s Cool Kids. It’s Blackstar. But it’s got a smoothness that guys like The Weeknd, Drake, and Cudi would all rhyme over as well.–THOMAS D. MOONEY, New Slang

DelbertMcClintonBlind96. “Whoever Said It Was Easy” Delbert McClinton & Glen Clark
Blind, Crippled, and Crazy

Blind, Crippled, and Crazy has been in the works for quite some time. After putting out two records in the ’70s, McClinton and Clark reunite and give us that rootsy, jangling blues, country record they’ve been thinking about putting out for 10 years now. These two have about as much chemistry as any elder statesman duo does. They’re rougher around the edges than Jim Lauderdale and Buddy Miller, but like those two, it feels like they’ve been playing with each other their entire lives.–THOMAS D. MOONEY, New Slang

HaydenHuseClairemontJail95. “Back Porch Dreaming” Hayden Huse
Clairemont Jail

“Back Porch Dreaming” must have been written by Hayden Huse with a summer breeze blowing. It’s cool, calm, and refreshing. The country crooner takes us back to a simpler time and sound. There’s easy banjo picking, soothing fiddle, and Huse’s voice hasn’t ever sounded much better. It almost feels like he’s going to go into another Lubbock song–Mac Davis’ “Texas In My Rear View Mirror” at any moment.–THOMAS D. MOONEY, New Slang

AndrewCotneyHeaddressed94. “Sink” Headdress
Rain Dance

For starters, Headdress is the new moniker for Andrew Cotney. Which, when he released last year’s Cracked Hearts, an early Beck times Real Estate collection of songs, I jokingly asked “Who the fuck is Andrew Cotney?” Who was he? What was he doing? And more importantly, would he stay around musically? I guess this answers that question. Sorta. He’s still making music, not playing shows, changing styles. With “Sink,” Cotney finds a stride in the seven minute slow burner. He’s still got an indie darling sound–though, as you can tell, he’s traded his fuzzed guitar licks for more keyboards and a slower tempo and a more Smith Westerns’ vocal style.–THOMAS D. MOONEY, New Slang 

TurbineToolshedWhiskey93. “Whiskey Stomp” Turbine Toolshed
Turbine Toolshed

This Amarillo-based band has a way with setting up an atmosphere and mood. They’re not exactly this or that, but a combination of multiple styles and genres that when thrown together is all their own. Hell, on “Whiskey Stomp,” you’ll count a few within the first minute. It overall has a sultry jazz standard feel, possibly like something you’d have found playing in a  Memphis dive bar by a forgotten, but good jazz band playing for one last hurrah.–THOMAS D. MOONEY, New Slang

FortyEightRadio92. “The Breakdown” The Forty-Eight
Radio Symmetry

The Breakdown, written by Alissa Beyer, produced and engineered by Ryan Todd Garza, Teel Merrick, and Alissa Beyer. This song is one marked by its’ choice in musicians. You can hear each player and their specific influences very clearly. The sound itself is very aggressive while retaining its’ pop sensibility. It’s Foo Fighters, Paramore, and classic guitar influence gives “The Breakdown” life and originality that is still entirely accessible. While this is a great song and stands on its’ own merits, it is still just a piece of a puzzle. Each track on the six song record holds its’ own weight and swings with equal force, all while maintaining individuality. If this record reflects even a small amount of this young lady’s passion and motivation, I think it’s safe to say we can look forward to more high quality music from her in the future.–WILL BOREING, Melanee

RonnieEatonMoth91. “Hell in California” Ronnie Eaton
The Moth Complex

“Hell in California” is certainly one of the most roundabout ways to tell someone to go to hell. It’s almost polite until you realize Ronnie Eaton must be really holding back with his subtle go to hell line. For a record that bounces between folk, blues, rock, and country, “Hell in California” finds Eaton at his most country–and why wouldn’t it be? Lines like “I never was your favorite boy, so I’ll just take one more to fill this void,” certainly hint at vices all too familiar to country songs.–THOMAS D. MOONEY, New Slang 

TelevisedDemiseEmergance90. “Emergence” Televised_Demise
Emergence EP

Cooper Schilder has been busy this year. He’s released two EPs, Emergence and Beyond Oblivion, a handful of singles and remixes, and made up one third of new electronic band Green House. With his solo efforts, Schilder focuses much on creating film score level tracks that still somehow tell a story, even without much, if any, vocals. The title track, “Emergence” revolves around a single beat that never changes, falters, wavers, or dies down. It’s the heartbeat of the track that gets stuck in your head. Like much of Televised_Demise though, picking out a single track to highlight is almost beside the point; The six tracks are meant to be listened to more as a single  25-minute piece rather than five-minute snippets.–THOMAS D. MOONEY, New Slang

ShaneRogersBetrayed89. “Betrayed” Shane Rogers
Betrayed

Shane Rogers’ voice just has the perfect balance of country and blues. It feels like he can take just about any song to either place. Maybe he cuts every song with two different arrangements: a country standard version and a bluesy gospel. Then he figures out how to merge the two into one. The short choppy guitar licks on “Betrayed” almost make it feel like a duet. They’re just as sorrow and down & out as Rogers’ country croon. –THOMAS D. MOONEY, New Slang

DannyCadraEP88. “Heartburn” Danny Cadra
Danny Cadra

“Heartburn” breaks a style mold for Lubbock and Texas music that goes back three decades to a time when the country of Willie, Waylon and Merle has traditionally ruled. Cadra’s up tempo, dancehall train tells a quirky story of how most of us feel after a long night drinking, dancing and meeting that desirable woman at the bar. The fast and furious guitar intro gives us the look at the smoky club in which the story starts. The band chimes in with a characteristic “train is in town” rhythmic motif. Lloyd Maines perfects the atmosphere implied with his performance on steel. The crowning feature of this tune is the hot conversation throughout between guitar and steel. It’s the kind of song that keeps you on the dance floor all night long.–MICHAEL VANN, Hogg Maulies

a0593216627_1087. “I Want You” Purkinje
RE

I don’t know if he knows it, but Peter Longno has a serious knack for electronic-based pop music. Last year’s “Constellations” from his now defunct/dormant project The Sun & The Shadows came in with a Top Ten place last year. Longno’s long been known for numerous monikers, but Purkinje has probably been his most used and what he’s most known for. “I Want You” is easily his most ambient release to date hinting that he’s been listening to more and more James Blake than M83 this past year. Regardless, it’s tracks like this that find us begging for more–regardless of release name.–THOMAS D. MOONEY, New Slang 

CharlieStoutFirstHundred86. “Living For the First of the Month” Charlie Stout
The First Hundred Don’t Count

The First Hundred Don’t Count. Charlie Stout sure isn’t treating songwriting that way–no matter how true that sentiment is for everyone. In less than two minutes, Stout paints the modern day depression. Hell, he does it in seven words. Just about everyone’s had that living for the first of the month feeling. It’s a shorter, more dispirited “If We Make It Through December.” But where Merle Haggard had California to look forward to, Stout only has the first of the month. What makes “First of the Month” so great is Stout’s delivery. He’s not complaining and there’s no “poor poor pitiful me” in his voice. He’s just stating the facts and the facts all point to why “the neighbors know me as the local failure.”–THOMAS D. MOONEY, New Slang

GreenHouseSummerNights85. “Metropolis” Green House
Summer Nights

It feels like I’ve talked about Peter Longno and Cooper Schilder a hundred times so far already on this list. And while their solo endeavors are rich, it’s without doubt that, along with Chris Arth, Green House is their best 2013 music. The lead track from their seven-song EP Summer Nights, “Metropolis” sets up the entire release perfectly. It’s a little ambient and droneesque, but much more pop and dance friendly than your average ambient songs. They also stand by themselves better than some of their other releases do.–THOMAS D. MOONEY, New Slang

AmandaShiresDownFell84. “The Drop and Lift” Amanda Shires
Down Fell the Doves

Amanda Shires write the most beautiful songs in Lubbock. Like the birds she often sings about, they’re graceful and delicate. “The Drop and Lift” may be her most traditional country release in years. The crisp, fresh fiddle feels like any country standard from the ’50s or ’60s. Shires’ lyrics often flow like poetry–which should come as no surprise. Her diction (“Sunset. The sky gets pink and bruised over Canyon Lakes”) and phrasing (“Falling is the closet to flying I believe we’ll ever get.”) is often overlooked, but are as near perfect as can be.–THOMAS D. MOONEY, New Slang

RandallKingOldDirt83. “All That’s Left” Randall King Band
Old Dirt Road

Randall King wears his influences on his sleeve. The guitars have just enough twang to conjure up images of neo-traditional acts like Randy Travis and Alan Jackson, but have a definite edge that go along the lines of early Randy Rogers. “All That’s Left,” like the best from King’s Old Dirt Road, find King and company right on the edge of country crooning and rougher rock guitar licks that are on the verge of coming unhinged. More than anything, Old Dirt Road shows King figuring things out as a songwriter and artist. Yes, these are good songs, but they leave you more excited about the future while content with the present.–THOMAS D. MOONEY, New Slang

WilliamClarkGreen82. “Welcome To the Family” William Clark Green
Rose Queen

The Rose Queen closer gives us another side of William Clark Green. We’ve probably never seen Green this bare bones or this vulnerable as an artist. It’s a great way to close the Rose Queen book where we see Green and company go all over the map in music styles–a definite good thing. “Welcome To the Family” is the calming exhale from an otherwise whirlwind of a record. With lines like “He’s just like me and every other Green, we’re all running out of time,” you see Green’s matured as a songwriter and artist. Misunderstood and Dangerous Man were great debut and sophomore efforts, but it’s the songs like this on RQ that show Green’s ready for the big leagues.–THOMAS D. MOONEY, New Slang

NumeratorsDead81. “Finally Sees” The Numerators
Single

When Spin debuted The Numerators’ 7-inch single “Dead” back in April, they mentioned that Lubbock wasn’t known for much more than UFO sightings, a tornado, and Buddy Holly (I’d beg to differ overall, but that’s an entirely different conversation and day). What they were getting more at was “How could something this different and hip come from such a desolate country place?” The now Brooklyn-based Numerators though, as you know, are kind of just people scratching the surface for the psyched-out, reverb heavy, punk fuzz Lubbock scene. Course, we’re all pretty fine with them being the poster children. “Finally Sees” was the B-side for aforementioned 7-inch single. It’s certainly baby brother in the relationship, but you can’t help but fall for the bass line that holds everything together through the chaos.–THOMAS D. MOONEY, New Slang

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6 thoughts on “Year in Review: Top 100 Lubbock Songs of 2013: 100-81

  1. Sandra Eaton says:

    I am so so proud of Ronnie Eaton can’t wait to see the rest of the list.

  2. […] Top 100 Lubbock Songs of the Year. We’re going 80-61 today. Check out 100-81 from yesterday here. You can find every song in the Spotify playlist below unless there’s a Soundcloud or […]

  3. […] DAY I: 100-81 DAY II: 80-61 DAY III: 60-41 DAY IV: 40-26 (Today) […]

  4. […] DAY I: 100-81 DAY II: 80-61 DAY III: 60-41 DAY IV: 41-26 DAY V: 25-1 (Today) […]

  5. […] DAY I: 100-81 DAY II: 80-61 DAY III: 60-41 DAY IV: 41-26 DAY V: 25-1 (Today) […]

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