My wife and I returned Tuesday from a long weekend in Nashville. The primary object of the trip was to see the great Jason Isbell and the 400 Unit at the legendary Ryman Auditorium. Our current thinking is that we are going to try to see some of the seminal music venues around the country. The Ryman is the first in this endeavor; we'll see if it continues, but here's to trying!
Jason Isbell is a singer-songwriter in the country-rock vein. He did some time with the Drive-By Truckers before drinking issues forced him to leave. Thankfully, for him as a person and for us as music lovers, Jason cleaned up and has become one of the best artists around.
I said country-rock, but that's such a broad and potentially inaccurate generalization. If you saw A Star Is Born you heard one of his songs (the great "Maybe It's Time") and you get an idea of the kind of artist he is. Roots leaning, but able to rock with the best of them. But his biggest strength, and he has many, is his songwriting. He's one of the best around. His latest record, The Nashville Sound, has one of the most beautiful love songs written, though with one of the silliest titles. "If We Were Vampires" is not just about love but about the inevitability of loss, that our time on Earth will run out, and that we should make the most of every moment we have been gifted.
It's knowing that this can't go on forever
Likely one of us will have to spend some days alone
Maybe we'll get forty years together
But one day I'll be gone
Or one day you'll be gone
It's kind of devastating in how close it hits. Especially because he sings it with his wife, the equally talented Amanda Shires.
Let's give it a listen:
Jason is great at balancing delicate songs with rocking songs. And he isn't afraid of owning up to his politics. At the show he took a moment to encourage us all to vote, that every vote matters, and it certainly mattered in the recent Senate race in his home state of Alabama, where he was very vocal and supportive of the eventual winner.
He's one of my favorite artists. I encourage everybody to enjoy his music.
The rest of the Nashville trip was wonderful. We stayed at a nice hotel very close to the Ryman. Which also meant we were close to the chaos of Broadway Avenue and all the bars and music venues down there. bands are playing in them damn near 24 hours a day it seems. Adding to the craziness are party buses, pedal-bars, and other assorted vehicles with people in varying states of inebriation. Because I am an old fuddy-duddy we didn't partake in too much of the local flavor, but we certainly got to appreciate it. We visited the Johnny Cash Museum, we visited Jack White's Third Man Records, where I picked up some sweet special edition vinyl. We drove to Nashville so it was two long days of nearly 10 hours in the car each way. But it was worth it. A definite good time.
Wednesday, October 24, 2018
Thursday, February 1, 2018
Albums I Love: MIGHTY JOE MOON by Grant Lee Buffalo
To me, Grant Lee Buffalo's second album, Mighty Joe Moon, is the sound of rustic distortion. When I listen to it, I envision cabins, fireplaces, trees, couches, scotch, wood. I envision The Band if they hit the distortion pedal a a bit more and cranked up the amps.
This is a record, one of many, that I love but often forget I love. Musicially, it drifts from hard-edged guitar rock to wistful acoustic balladry. Many times in the same songs. Powerful vocals with soft and beautiful harmonies. It's filled with little touches that make me wish I could do it with my band. Like the harmony vocal in the pre-chorus of "Sing Along." It's a small touch, but it adds so much life and vibrancy to the song.
Small touches are what really make an album for me. Naturally, great songs are needed to be the foundation. But it's the little details, the small touches, the attention to detail, that give me the goosebumps. It can be a harmony vocal, it can be a guitar fill, it can be a couple notes on the piano. But when you put the right touch in the right place at the right time.
Listen to Mighty Joe Moon and you'll hear these all over the place. Grant-Lee Phillips is the main guy, but the secret weapon is bassist Paul Kimble and his production and mixing. I don't know the details, but I am suspecting he had a real hand in the craft here. He must have if he mixed it. It's almost a miracle how good it is.
There's the lyrics. They are beautiful. A simple song like "Last Days Of Tecumseh" is poetry set to music. A heartbreaking ballad like "Honey, Don't Think" warning a lover not to look too close because she might not like what she sees:
Something wrong in my stars
Could you look at my chart
Help me healing these scars?
Could you learn to read minds?
In the case of mine
Do you read in the dark?
Looking at the CD, I am reminded The Band comparison is not far off. They are pictured playing in what looks like a cabin. Rustic, almost exotic instruments. Grant-Lee Phillips wears a weird bear head for many photos. It doesn't appear to actually been recorded there; that's okay. They still capture the spirit about as well as they possibly could.
I saw Grant Lee Buffalo twice. First was opening for R.E.M. on their Monster tour. When Bill Berry had his aneyurism on stage, it was Joey Peters (GLB's drummer) who stepped in to finish the set. I saw them again when toured behind Jubilee, which was two records after MJM. The middle record, Copperopolis, was good but did not grab me like MJM. Jubilee comes close, though. Grant-Lee Phillips went on to do his own thing after that. I saw him at Iota shortly after that. His solo records have been spotty. That's not quite right. They're good but they don't have the magic that MJM caught. Maybe it's just tough to come out of that shadow. I admire MJM so much, maybe to the detriment of the others.
I know if you watched Gilmore Girls, then you have seen Grant-Lee Phillips.
Let's listen to one of the songs. Here's one of the prettiest songs on the record, "Mockingbirds." And one of the prettiest songs, period.
This is a record, one of many, that I love but often forget I love. Musicially, it drifts from hard-edged guitar rock to wistful acoustic balladry. Many times in the same songs. Powerful vocals with soft and beautiful harmonies. It's filled with little touches that make me wish I could do it with my band. Like the harmony vocal in the pre-chorus of "Sing Along." It's a small touch, but it adds so much life and vibrancy to the song.
Small touches are what really make an album for me. Naturally, great songs are needed to be the foundation. But it's the little details, the small touches, the attention to detail, that give me the goosebumps. It can be a harmony vocal, it can be a guitar fill, it can be a couple notes on the piano. But when you put the right touch in the right place at the right time.
Listen to Mighty Joe Moon and you'll hear these all over the place. Grant-Lee Phillips is the main guy, but the secret weapon is bassist Paul Kimble and his production and mixing. I don't know the details, but I am suspecting he had a real hand in the craft here. He must have if he mixed it. It's almost a miracle how good it is.
There's the lyrics. They are beautiful. A simple song like "Last Days Of Tecumseh" is poetry set to music. A heartbreaking ballad like "Honey, Don't Think" warning a lover not to look too close because she might not like what she sees:
Something wrong in my stars
Could you look at my chart
Help me healing these scars?
Could you learn to read minds?
In the case of mine
Do you read in the dark?
Looking at the CD, I am reminded The Band comparison is not far off. They are pictured playing in what looks like a cabin. Rustic, almost exotic instruments. Grant-Lee Phillips wears a weird bear head for many photos. It doesn't appear to actually been recorded there; that's okay. They still capture the spirit about as well as they possibly could.
I saw Grant Lee Buffalo twice. First was opening for R.E.M. on their Monster tour. When Bill Berry had his aneyurism on stage, it was Joey Peters (GLB's drummer) who stepped in to finish the set. I saw them again when toured behind Jubilee, which was two records after MJM. The middle record, Copperopolis, was good but did not grab me like MJM. Jubilee comes close, though. Grant-Lee Phillips went on to do his own thing after that. I saw him at Iota shortly after that. His solo records have been spotty. That's not quite right. They're good but they don't have the magic that MJM caught. Maybe it's just tough to come out of that shadow. I admire MJM so much, maybe to the detriment of the others.
I know if you watched Gilmore Girls, then you have seen Grant-Lee Phillips.
Let's listen to one of the songs. Here's one of the prettiest songs on the record, "Mockingbirds." And one of the prettiest songs, period.
Friday, January 26, 2018
Power Pop Roundup
As my band approaches being ready to record our next album, I find myself dialing up more power-pop records than stoner rock records. Becoming a vinyl nerd means I sometimes miss out because the latter batch of bands revel is gorgeous vinyl, while the former bands tend to be digital and CDs only, with a couple exceptions here and there.
Spotify has been a good friend here, as I use the Similar Artist feature to lead me down the rabbit hole. I don't even remember what artist started it this time around, but here's some of the good jangly- guitar rock I have been digging lately.
Crash Through or Crash by Shake Some Action! Yes the exclamation point is in the band name. I like that. The album cover even hints at a Rickenbacker like mine. You can hear the chimey guitars right from the start. This is classic sounding, soaring power pop. The vocals remind me of Jagger in spots; second track "The Only Way Is Up" has a verse that says "Am I fast enough? Am I some slow enough?" on and on. What Stones song was that? "Miss You." Anyway, this is my favorite of the batch.
Melody Records by The Mylars. This is more modern sounding. Great vocals and great melodies. And a pretty cool cover of The Cars' let's go. These guys are opening for Rick Springfield and that's a pretty cool comparison. The vocals remind me a TON of some band I listened to in college. Wakeland comes to mind, but there is somebody else. These cats are really good. I'd love to open for them. I followed them on Instagram and they followed us back. I should hit them up.
Crybaby by Danny De La Matyr. I am never gonna completely remember this guys name. But that's alright, I'll buy the record and that will be fine. More chill than the others here. Rainy day power-pop. A bit more produced, like in the Jon Brion-vein. His voice reminds me of somebody too. Memory is failing.
Scenery For Dreamers by Daniel Wylie's Cosmic Rough Riders. And I thought my band name was a mouthful. Crunchy guitars over Americana-y vocals. Internet tells me these guys are taking a hiatus. That's too bad they are very cool.
Spotify has been a good friend here, as I use the Similar Artist feature to lead me down the rabbit hole. I don't even remember what artist started it this time around, but here's some of the good jangly- guitar rock I have been digging lately.
Crash Through or Crash by Shake Some Action! Yes the exclamation point is in the band name. I like that. The album cover even hints at a Rickenbacker like mine. You can hear the chimey guitars right from the start. This is classic sounding, soaring power pop. The vocals remind me of Jagger in spots; second track "The Only Way Is Up" has a verse that says "Am I fast enough? Am I some slow enough?" on and on. What Stones song was that? "Miss You." Anyway, this is my favorite of the batch.
Melody Records by The Mylars. This is more modern sounding. Great vocals and great melodies. And a pretty cool cover of The Cars' let's go. These guys are opening for Rick Springfield and that's a pretty cool comparison. The vocals remind me a TON of some band I listened to in college. Wakeland comes to mind, but there is somebody else. These cats are really good. I'd love to open for them. I followed them on Instagram and they followed us back. I should hit them up.
Welcome Aboard: by The On and Ons. More of a retro 60s feel here. Sounds like a band that plays on Little Steven's Underground Garage that I would need to look up immediately so I didn't forget. Or if The Wonders kept going for a bit more than one record. They appear to be from Australia, so I probably won't ever see them. At least we have the internet!
Crybaby by Danny De La Matyr. I am never gonna completely remember this guys name. But that's alright, I'll buy the record and that will be fine. More chill than the others here. Rainy day power-pop. A bit more produced, like in the Jon Brion-vein. His voice reminds me of somebody too. Memory is failing.
Scenery For Dreamers by Daniel Wylie's Cosmic Rough Riders. And I thought my band name was a mouthful. Crunchy guitars over Americana-y vocals. Internet tells me these guys are taking a hiatus. That's too bad they are very cool.
Tear Your Minds Wide Open! by The Galileo 7. Another retro sounding outfit. They sound British. Yep Kent. I guess their name comes from a Star Trek episode so you have to add BAND when searching for them. Worth the effort.
Monday, January 15, 2018
Band of Gypsys
One of the Christmas presents that Jodi gave me this year was the Jimi Hendrix's Band of Gypsys Live at the Fillmore East vinyl. I have the original Band of Gypsys but it is this document of their first show on December 31, 1969 that is really jaw-dropping.
You don't need me to tell you how good Jimi was. He was the personification of innovation. He feels like one of those guys who would have invented the electric guitar if it didn't already exist. His hands and his brain would simply know what to do.
It is a tragedy that he succumbed to fame's perils. The Band of Gypsys records show what direction he was going, where his muse was taking him. This record is very improvisational. He is also less a bandleader and more of another piece, fitting in with his bandmates. Buddy Miles and Billy Cox, which is a pretty damn good band.
It's interesting to hear on the first track Jimi making mistakes, trying to keep up. But when he hits it you can almost hear him say "There it is." Even Jimi didn't get everything right on the first try. And for much of this he is winging it with the other two guys. They hadn't rehearsed much. At the end of the set he mentions they will come back and do it right. Which makes it especially incredible.
He would be 75 if he had stayed alive. I don't claim to know where he would have gone with his talent. I don't think he'd have stopped. Music seemed ingrained in him. To remove it would be removing a limb. I don't think he would have been an oldies machine, that he would have become irrelevant in terms of creativity like The Rolling Stones. I can't see him playing "Foxey Lady" and "Purple Haze" 200 times year for 10 years. Maybe he would have. Man's got to eat. The mythos would be different with life. There'd be just Jimi Hendrix, not JIMI HENDRIX. The allure of what could have been never need rise from the tomb. The world would have been better with that music, with that life.
You don't need me to tell you how good Jimi was. He was the personification of innovation. He feels like one of those guys who would have invented the electric guitar if it didn't already exist. His hands and his brain would simply know what to do.
It is a tragedy that he succumbed to fame's perils. The Band of Gypsys records show what direction he was going, where his muse was taking him. This record is very improvisational. He is also less a bandleader and more of another piece, fitting in with his bandmates. Buddy Miles and Billy Cox, which is a pretty damn good band.
It's interesting to hear on the first track Jimi making mistakes, trying to keep up. But when he hits it you can almost hear him say "There it is." Even Jimi didn't get everything right on the first try. And for much of this he is winging it with the other two guys. They hadn't rehearsed much. At the end of the set he mentions they will come back and do it right. Which makes it especially incredible.
The liner notes say these shows were not especially received. Over the course of several nights the band added more of the hits.
He would be 75 if he had stayed alive. I don't claim to know where he would have gone with his talent. I don't think he'd have stopped. Music seemed ingrained in him. To remove it would be removing a limb. I don't think he would have been an oldies machine, that he would have become irrelevant in terms of creativity like The Rolling Stones. I can't see him playing "Foxey Lady" and "Purple Haze" 200 times year for 10 years. Maybe he would have. Man's got to eat. The mythos would be different with life. There'd be just Jimi Hendrix, not JIMI HENDRIX. The allure of what could have been never need rise from the tomb. The world would have been better with that music, with that life.
Sunday, January 7, 2018
Back In The Saddle
I don't really like the concept of resolutions. Let's call them "resolutions" because they deserve the quote marks. You shouldn't need the act of hanging up a new calendar to find inspiration for making yourself better. It's a constant process. We are fluid entities, we shift and change. Some things are wired in but we as beings are capable of growing and changing and expanding. We don't need to be stuck in a rut.
One of these said "resolutions" is to write more. According to this blog, I last made that resolution at the start of 2016. It did not last long. Sigh. What a waste. OK, done with the looking back, let's look forward. I'm gonna stick to it this year. OK, I am really going to try to stick to it.
Another one is to see more rocknroll shows. That's a big one for me. I have wimped out farfarfar too many times over the years, missing great shows, letting opportunities slip by. That's another sigh, so let's not belabor it. For me, music is as important as air. If god wanted to fuck with me he would take my hearing away. My band has been trying to kill my hearing but I am fighting back these days with dreaded earplugs at rehearsal. Some of the time, at least. So, dear reader expect to see many more show reports here over the coming months. And if you don't you have my permission to call me a loser.
Other "resolutions" aren't quite musical related. Continue to eat sensibly. Go to the gym at least 4 times a week. Start doing yoga and meditation. That one can help with the creativity. I have anxiety but I have no reason for anxiety. I have a smart, funny, beautiful, and loving wife; I have a good job that has a positive impact on people's lives; I have a kick-ass band with three genuine friends. That should be another one, see friends more often. The anxiety I have is self-flaggelation and it fucking sucks. It isn't necessary. I think Trump has a part of doing it. That asshole is bringing my shakes and twitches back. Hell with him, he's not worth the additional characters.
So change is in the the air.
Why now...why today. I watched the new teaser video for Titus Andronicus' new album. And now I am listening to their masterpiece The Monitor. What a fucking record. I saw them when they toured behind it and it was rocknroll at it's most....well, rocknroll at it's most. Energy, passion, the catharsis you get when you just yell "fuck you!" I drifted away from them, saw them again a couple years later but the crowd was bigger and the energy at the back of the room is never like the front of the room. They'll be back in town in April and I will be there.
My advice is put a record on. Or a CD. Or if it's the only thing you got then put your earbuds in and listen to something you love. Something that breathes life into you. Something that makes you want to shake the pictures off the walls and hug whomever is standing next to you. Something that makes you forget about all the hate and all the anger and all the pain and all the fear we have in this country and all across the world. We all have one heart and one body (thanks, Call Me By Your Name). Don't fucking waste it.
Subscribe to:
Posts (Atom)