this is a new band for me. i think i found them on my amazon ‘recommended’ list. just took a flyer on them based on the comments section. a little hard to describe (which is often a good trait in my book), so i will begin by taking a stab at who i think might be their influences. on many tracks there is a western feel to it, and there is a little bit of calexico and dawes. good twangy guitars, solid vocals, both of those enhanced by a reverb thing reminiscent of my morning jacket. i hear some nebraska era springsteen, and maybe some buddy holly. this is their sophomore effort, to the best of my knowledge, and i got hooked. i listened to it straight through three times, and only took it out of the rotation because i just got a big batch of new releases and had to move on. there really isn’t a bad song on the whole thing, and i will come back to it. found their first release and have it on order. stay tuned.
wilco has been around about twenty years now, and they marked this anniversary by releasing two compilations. one was simply a 2 cd greatest hits, which is a good introduction if you aren’t that familiar with them. but if you are like me and a great admirer of the group and pretty much have everything they have ever released, then it was not very interesting. the companion release, alpha mike foxtrot, is pretty much indispensable if you are a wilco devotee. a 4 cd package with almost 80 songs, it is also a bargain at about $30. the booklet that comes with the box has great insights into the evolution of the band by recording industry executives and members of the group. on top of that, founding member jeff tweedy describes the circumstances of each cut. there is live material, alternate versions of previously released (‘handshake drugs’, for instance), and items that never made it out of the studio, like the hilarious ‘bob dylan’s 49th beard’.
if after reading the booklet you feel the need to explore more of their history, i highly recommend getting a documentary called ‘i am trying to break your heart’. it chronicles the making of ‘yankee hotel foxtrot’, a very important yet volatile period of the band. an extemely candid look at the studio process, then getting bumped from their label right before release, and the firing of jay bennett from the band.
their brand new release, ‘star wars’, is another solid addition to their studio work. my guess is that ‘random name generator’ will be a staple of their live shows, and ‘you satellite’ has a very lou reed feel to it, and would not be out of place on an early velvet underground album. plus you can download the whole thing for free.
going to see them soon at the pilgrimage festival in nashville.
i have been listening to rek for about twenty years. hailing from texas, he has been recording since the mid eighties and is generally regarded as another in a long list of great singer songwriters from that state. to get a good taste of his work, i would recommend ‘gringo honeymoon’ from 1994. this is an interesting departure for him, as he puts down the pen and does all covers, and paints them all with a serious bluegrass tint. not really known as a bluegrass musician, he does a great job of putting together a solid lineup to help him seek his desire to create this project, including lyle lovett, sara watkins, natalie maines, and peter rowan. from a rolling stone review:
“I wanted to show the nuance in bluegrass. It’s not just all in G, playing as fast as you can,” Keen says, motioning his hand up and down as if he were quick strumming the guitar. “And I also wanted people to hear how cool bluegrass music is. I didn’t want to be the torchbearer for it because I’ve never thought of myself as a great singer, certainly not a bluegrass singer, but I really did want to have some kind of rebirth and put it out there so people would go, ‘Yeah, this is great music.'”
he certainly wasn’t worried about catering to the “grassholes” or bluegrass purists when he started to put together Happy Prisoner, but he did want to show the breadth of a genre to people who mistakenly think it’s all about one specific sound. or to those who think bluegrass is something akin to mumford and sons. there’s flatt & scruggs and bill monroe on the lp, sure, but there’s also contemporary songs like richard thompson’s “1952 vincent black lightning,” all picked to show a dynamic spectrum that isn’t often given a spotlight.
one of the biggest challenges jason faced, i am sure, when making this album, was living up to his extraordinary previous release, southeastern. my first run through of this disc encountered the same challenge, namely that i was comparing it, and it wasn’t as good. but with each new listen, it begins to stand on it’s own, and it is a fine piece of work. he has added one more addition to his portfolio that cements his reputation out there as one of the finer singer/songwriters in the field today. each song here is a story, maybe sometimes autobiographical, but always well crafted and heartfelt. he can create characters and situations and emotions like nobody’s business. same producer as ‘southeastern’, and for the most part his road band, along with lovely wife amanda shires on vocal and fiddle.
‘speed trap town’ could easily be a cut on springsteen’s ‘nebraska’, and ‘hudson commodore’ is an uplifting tale of a single woman making her way in roosevelt’s south. ‘to a band i loved’ ,and possibly ‘how to forget’, are probably about his time with drive by truckers, and his first marriage to shonna tucker. i just saw him at the house of blues a couple of months back. he has been relentlessly touring, and is worth a visit if he comes to your town. probably my favorite artist out there right now that fits into the category of ‘bands you haven’t heard of’. that is becoming less of a truism with every new release. he is building a solid career, and this is worth your consideration.
“I’m kind of picky about songwriters, you know,” says John Prine. “But when I heard Southeastern, it just killed me. I loved it. I like songs that are clean and don’t have much fat on them — every line is direct, and all people can relate to it. That’s what I try to do, and that’s what Jason does. I really haven’t heard anybody that different in probably 30 years.”
The recordings known as ‘The Basement Tapes’ have been released, officially and unofficially, in many different forms. The series of events that led up to the recordings, and the eventual influence the songs had on the musical world, are legendary, and some very good books have been written on the subject. Essentially put on tape by Dylan and members of the Band during a ‘down’ time in his career after allegedly suffering a major injury from a motorcycle accident, the recordings are rough sketches of material being worked on for various reasons. There are also multiple covers that the group seems to be using to just get some work in. Contrary to most accounts, the tapes were made in various locations around Woodstock/West Saugerties area, not just the ‘Big Pink’ house. The sessions lasted about 6 months, from May to October 1967, and a fourteen song demo was copyrighted and sent to various artists who were known to be interested in covering new Dylan material. Almost all of them were picked by someone with varied success. In 1969 a bootleg called ‘The Great White Wonder’ appeared on the scene, with original cuts from the sessions included with other Dylan material. Eventually over a hundred cuts from the sessions were shown the light of day by various bootlegs. Eventually Dylan saw fit to make an official release of some sorts, and in 1975 Robbie Robertson was given the responsibility of putting it together. Selected cuts were remixed and overdubbed, and some original work from The Band was also added (recorded at a different period).
Now Dylan has given the green light to go back and release the entire thing, unedited. With the help of Garth Hudson, the original member who actually engineered the recording, they have been offered up in two versions: ‘Complete’, which has 139 songs on 6 discs, and ‘Raw’, which selects 38 of them for a 2 CD release. I opted for the latter, but am still open to getting the bigger eventually. At a minimum, if you are a moderate Dylan fan and have an appreciation for the history of these recordings, you have to get ‘Raw’. It is totally different than the 1975 version, and the booklet that comes with it is a small novel on everything you need to know about this special event in music history. There are also plenty of pictures of them that I have never seen. Much of the dialogue in the booklet is offered up by Sid Griffin, who probably wrote the definitive book on the recordings, ‘Million Dollar Bash’. After getting ‘Raw’ I ordered the book and thoroughly enjoyed it. The songs are not polished, and most were not meant to see the light of day. But they certainly give us a glimpse into that transformative summer in Woodstock, when a group of guys were just playing in a basement for the hell of it, trying to create something new. And they did.
I would pay top dollar to be a fly on the wall of this basement for an afternoon.
redeyegin 