SOMETHING OLD
Warren Zevon - The French Inhaler
1976
It's 2026, which means that 1976 is officially qualified for "Something Old!"
The legendary Warren Zevon was recently inducted into the Rock and Roll Hall of Fame, which has recently planted him into my thoughts.
Zevon, on a few occasions, studied with Russian composer Igor Stravinsky in his home. That deep classical appreciation is immediately noticeable at the start of The French Inhaler, the last track on Side 1of his self-titled second album. It's a brief piano refrain that reminds me of Bach's Bourrée I from Cello Suite No.3 in C Major.
The song quickly evolves into a stunning ballad, one much less dryly sardonic than some of his other works. The lyrics draw parallels between Zevon's personal experience with the demise of his marriage with Marilyn "Tule" Livingston and Norman Mailer's 1973 autobiography about Marilyn Monroe (particularly in the concluding lines "So long, Norman").
For me, the middle of the song is the absolute peak. It's here that Eagles star Don Henley's backing vocals shine prominently and you hear truly expressive harmonies between the two men, in a very heartbreaking way. After a beautifully delivered line by Henley (And you always show up late), a blossoming string arrangement comes in and builds to one of Zevon's strongest studio vocal performances I've heard.
A truly gorgeous song that even his ex-wife, the scorned subject, would reportedly turn it on and say, "isn't that brilliant?" after enough glasses of wine.
Warren Zevon - The French Inhaler
1976
It's 2026, which means that 1976 is officially qualified for "Something Old!"
The legendary Warren Zevon was recently inducted into the Rock and Roll Hall of Fame, which has recently planted him into my thoughts.
Zevon, on a few occasions, studied with Russian composer Igor Stravinsky in his home. That deep classical appreciation is immediately noticeable at the start of The French Inhaler, the last track on Side 1of his self-titled second album. It's a brief piano refrain that reminds me of Bach's Bourrée I from Cello Suite No.3 in C Major.
The song quickly evolves into a stunning ballad, one much less dryly sardonic than some of his other works. The lyrics draw parallels between Zevon's personal experience with the demise of his marriage with Marilyn "Tule" Livingston and Norman Mailer's 1973 autobiography about Marilyn Monroe (particularly in the concluding lines "So long, Norman").
For me, the middle of the song is the absolute peak. It's here that Eagles star Don Henley's backing vocals shine prominently and you hear truly expressive harmonies between the two men, in a very heartbreaking way. After a beautifully delivered line by Henley (And you always show up late), a blossoming string arrangement comes in and builds to one of Zevon's strongest studio vocal performances I've heard.
A truly gorgeous song that even his ex-wife, the scorned subject, would reportedly turn it on and say, "isn't that brilliant?" after enough glasses of wine.
SOMETHING NEW
Sam Blasucci - WHO LIVES ON THESE LANDS
January 2nd, 2026
LA artist Sam Blasucci doesn't seem like he's taken many breaks from recording since his 2023 debut album, and for that I'm grateful.
This coming spring, Blasucci plans to release a Double LP titled Physical Dream, which he is slowly unraveling in separate EP movements beforehand. His EP Orchids was the first movement and came out this past November. Today's featured song is a peek at Star of Beauty, which will be released as the second movement later this month.
Sam Blasucci - WHO LIVES ON THESE LANDS
January 2nd, 2026
LA artist Sam Blasucci doesn't seem like he's taken many breaks from recording since his 2023 debut album, and for that I'm grateful.
This coming spring, Blasucci plans to release a Double LP titled Physical Dream, which he is slowly unraveling in separate EP movements beforehand. His EP Orchids was the first movement and came out this past November. Today's featured song is a peek at Star of Beauty, which will be released as the second movement later this month.
The song evokes imagery of nature and maybe a somewhat mystical presence of something deeper than ourselves as he asks, "who lives on these lands?"
Imagine a powerful moment considering the land around you, but make it super danceable. That's Sam Blasucci.
I really love one of the repeated lyrics, "speak intuition, into a shell," because "intuition" and "into a shell" are homophones (or oronyms?) in a very satisfying way.
Imagine a powerful moment considering the land around you, but make it super danceable. That's Sam Blasucci.
I really love one of the repeated lyrics, "speak intuition, into a shell," because "intuition" and "into a shell" are homophones (or oronyms?) in a very satisfying way.
SOMETHING BORROWED
Helvetia - This Must Be the Place (Talking Heads)
2025
Helvetia - This Must Be the Place (Talking Heads)
2025
One of Talking Heads' most popular songs, This Must Be the Place (Naive Melody) is a love song for weirdos. There have been covers by several bands such as Geese, The Lumineers, MGMT, and Car Seat Headrest, and now there's one from Helvetia, an indie rock group led by ex-Duster drummer Jason Albertini.
The word that first comes to mind about this cover is "deconstructed." As if a child build a tower out of foam blocks, and then tore it down, and started building another one that's slightly different. The tower may be a little less obviously tower-like in either its look or structural integrity, but you totally still know it's a tower, and you kind of love it for its eccentricities.
It's a bit of a busier take on the generally straight-forward tune, but the melodies are the same, and are especially lovely during little piano parts.
Nobody can replicate the Talking Heads, and I like that Helvetia isn't trying to.
The word that first comes to mind about this cover is "deconstructed." As if a child build a tower out of foam blocks, and then tore it down, and started building another one that's slightly different. The tower may be a little less obviously tower-like in either its look or structural integrity, but you totally still know it's a tower, and you kind of love it for its eccentricities.
It's a bit of a busier take on the generally straight-forward tune, but the melodies are the same, and are especially lovely during little piano parts.
Nobody can replicate the Talking Heads, and I like that Helvetia isn't trying to.
SOMETHING... BLUE
Ray Charles - Am I Blue
1951
Ray Charles - Am I Blue
1951
Since it's a new year and a new season of the series... let's come back again to the tried and true something blue.
How better to do that than with Ray Charles' Am I Blue?
This is a beloved song, which is why it's futile to write any great deal of history or analysis on it, but I will share one anecdote with you.
My dad introduced this song to me by explaining how it once featured in a dream he had. He described a dream where he was performing and, on the spot, had to play and sing this song on the piano completely from memory all alone. It was anxiety-inducing.
At the time, I'd never heard the song. When I listened, I also felt transported to a dream. It wasn't quite his dream, but after several years, every single listen still feels sort of hazy, otherworldly, and dreamlike in a way no other song feels. I don't know if it's the swelling and resonant strings, that fae-feeling flute, simply my dad's experience, something else, or everything altogether, but this song continues to have a profound impact on how I feel when I listen to it. It's hard to explain, but I genuinely feel transported.
How better to do that than with Ray Charles' Am I Blue?
This is a beloved song, which is why it's futile to write any great deal of history or analysis on it, but I will share one anecdote with you.
My dad introduced this song to me by explaining how it once featured in a dream he had. He described a dream where he was performing and, on the spot, had to play and sing this song on the piano completely from memory all alone. It was anxiety-inducing.
At the time, I'd never heard the song. When I listened, I also felt transported to a dream. It wasn't quite his dream, but after several years, every single listen still feels sort of hazy, otherworldly, and dreamlike in a way no other song feels. I don't know if it's the swelling and resonant strings, that fae-feeling flute, simply my dad's experience, something else, or everything altogether, but this song continues to have a profound impact on how I feel when I listen to it. It's hard to explain, but I genuinely feel transported.