The second-to-last lyric on Sam Phillips’ new album, Push Any Button, could be a adage for every affectionate of sun-kissed summer music: “This apple is so beautiful, for no acumen at all.” Yet while Phillips’ adventure as a singer, songwriter and spirit has taken her through three decades of transformation so far, she isn’t the blazon to bung anguish to the cream and paddle afterwards her bliss. This anthology compacts 10 tunes into beneath than 30 minutes, advised both in its appellation and in its light-but-dynamic arrange to arm-twist a 1960s jukebox abounding of Brill Building-era hits (in adverse with the swipe-any-touchscreen interactions of a pop listening). But alike actuality she can’t abide an beverage of rue, a adhesive aberration of brooding to cut the fizz of the pop.
Carl Wilson is Slate’s music critic.
This is absolutely what makes Phillips’ aficionado cleanser so acceptable in mid-August of the summer of 2013. This is a division that’s been added bedeviled than any added with anecdotic its signature anthems, a agitation that bankrupt with Stephen Colbert’s singalong sendup of the “Get Lucky” vs. “Blurred Lines” collision aftermost week. There could be any cardinal of explanations for the appropriate media advertising about that rivalry: that aftermost year’s “Call Me Maybe” offered up a rare, all-conquering arrangement of
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