Politics are almost inherent, if not overt, when bands play in the Washington, D.C., area. I can’t tell you how many times I’ve heard 1960s protest songs played — often with an extra dose of passion — as encores at shows.
Son Volt, the alt-rock/alt-country band led by Jay Farrar, didn’t need covers to weigh in on the state of our country Sunday at the 9:30 Club. More than half of the band’s new album, “Union,” deals with the state of the state as Farrar sees it.
And that state, starting with show opener “The 99,” is not good in his view. Farrar’s anthem name checks protests over the Dakota Pipeline and the Ferguson, Mo. shooting that occurred near his St. Louis home and blasts those who allow “desecration of the land for the almighty dollar.”
While seeming to channel Roy Orbison in looks, complete with long bangs and sunglasses that never came off, Farrar’s lyrics and the band’s sound brought to mind Woody Guthrie via The Byrds and Tom Petty. Those references are not an insult; if anything, hearing the career spanning mix from Son Volt’s eight album, 23-year history showed how consistent the band has been despite numerous personnel changes.
Live, what impressed me most is how the new mix of songs on “Union” complement its back catalogue. The reason of course, is Farrar. He let the lyrics and music speak for itself throughout the 1-hour, 40-minute show, speaking little if at all between songs. The current Son Volt lineup — Andrew Duplantis (bass, backing vocals), Mark Patterson (drums), Chris Frame (guitar) and Mark Spencer (keyboard, steel guitar) — provided strong and richly textured support throughout.
“Union,” of course, dominated much of the show’s first half with six cuts, including “Reality Winner” (about a decorated veteran serving jail time for leaking confidential documents) as well as the less topical “Devil May Care” and “The Reason.” A personal favorite was “The Picture,” which fit the mood even though it was written more than a decade ago for 2007’s “The Search.”
Famously founded after Farrar and Jeff Tweedy split up Uncle Tupelo, Son Volt’s debut album — 1995’s “Trace” — remains perhaps its best known. Not surprisingly, the band saved songs from “Trace” until the show’s end, performing “Route,” “Drown,” a beautiful and chilling “Tear Stained Eye,” and set closer “Windfall” in a cluster broken up only by the rocker “Afterglow 61” (from 2005’s “Okemah and Melody of Riot”).
Ian Noe, a Kentucky native whose debut album “Between the Country,” will be released May 31, set the stage for the band with a series of original songs and a cover of Bruce Springsteen’s “Born in the USA.” Noe’s album was produced by Dave Cobb, and he is scheduled to open this summer on tours with both Blackberry Smoke and Jamestown Revival, so you’ll likely hear more about him this year.
I’ve long admired musicians who find it easy to collaborate, moving seamlessly (or so it seems) from group to group while maintaining their own careers. Neko Case and Emmylou Harris do this all the time, as do others, but Dave Alvin and John Doe are experts in the art of the side project.
The longtime friends have worked together off and on for almost 40 years, since the heady days of The Blasters and X, forefathers and fixtures of the early 1980s Los Angeles punk rock scene. At one point, between leaving The Blasters and going solo, Alvin joined X for a brief period and gave the group his classic “4th of July” for their “See How We Are” album.
Over the past three-plus decades, I’ve managed to see Alvin and Doe live as part of two side projects — The Knitters and one-off supergroup The Pleasure Barons (still one of my favorite shows ever). But it wasn’t until Saturday night, at Union Stage in Washington, D.C., that I managed to catch the elusive Flesh Eaters.
Understandably, The Flesh Eaters does not sound like a natural fit for a website that focuses on Americana music. But given the group’s makeup, and the way its members have toggled effortlessly between genres, it makes perfect sense.
A fun mix of blues, punk, country, and garage band pop/grunge, with plenty of saxophone and occasional forays into jazz, the show presented an opportunity for musicians who genuinely seem to enjoy playing together to do so. After 16 songs and almost 100 minutes of music, which followed a set by opener Porcupine, the audience walked out knowing they had seen something that may never happen again.
Founded by singer-songwriter Chris Desjardins, self-described as a morbidly romantic punk poet, The Flesh Eaters have had a rotating cast of musicians during an off-and-on history that dates back to 1977. In 1981, Alvin, Doe and other members of X and The Blasters backed up Desjardins (known as Chris D) on the album “A Minute to Pray.” The album was put out by Ruby, a Slash Records subsidiary. (Subsidiary, in this case, meaning you had next-to-no budget to record.)
After recording the album, Doe and percussionist/drummer D.J. Bonebrake went back to X, while Alvin, drummer Bill Bateman, and saxophone player Steve Berlin returned to The Blasters. (Berlin later left and joined Los Lobos, with whom he plays to this day.)
The group did not play together again until 2006, when they performed three shows in California and one in England to mark the album’s 25th anniversary. They reunited briefly in 2015 for a five-show tour and again for an eight-show run last year. That convinced Desjardins to ask the other members to return to the studio.
“I Used to be Pretty,” released earlier this year by YepRoc (the label home to Alvin and Doe), does not deviate from the formula that had many searching for out-of-print copies of its supergroup predecessor. (“A Minute to Pray,” was re-released in 2015.) The band members sound like they’re having fun. Some songs work better than others; some focus on affect when effect would do.
Live is where you see it come all together. Berlin’s sax figures prominently, and Alvin cuts loose on lead guitar. Doe has always been somewhat underrated as a bass player, and taking him off lead vocals shows you how good he is. Bateman and Bonebrake provide a solid backbone to the music.
Highlights included the opener “See You in the Boneyard,” a cover of “Cinderella” by The Sonics, “My Life to Live,” “Black Temptation,” and “Miss Muerte,” which closed out the set before the two-song encore. I enjoyed hearing “Cyrano de Berger’s Back,” which Doe wrote for “A Minute to Pray” and later repurposed for X, as well as the blistering set closer, “Ghost Cave Lament.”
Desjardins seemed to be having a blast. He mentioned this may be the one and only time we are able to see this group on the East Coast, which may be true. But his temporary bandmates made sure it was a memorable evening.
As much as I enjoyed the headliner, I also was impressed with Porcupine, the trio that opened the evening. The group’s 45-minute set was highlighted by songs from its recent EP, “What You’ve Heard Isn’t Real,” released in November.
Led by Casey Virock on guitars/vocals and drummer Ian Prince, the band received a boost when former Husker Du bass player Greg Norton joined the group in 2016. Norton, who hasn’t been on an extended tour since 1989, clearly enjoyed playing in Washington, D.C. for the first time since Husker Du broke up. If you’re a fan of late 90s alternative music “without compromise,” as the band describes its sound, check them out.
Every winter, Steve Earle takes a “break” from touring with The Dukes and performs a solo acoustic residency at City Winery, a gig that started when he moved to New York in 2005 and has since expanded to include stops in the venue’s other locations across the U.S.
The partnership has proven fruitful. City Winery has benefitted from having a proven performer with a dedicated base guaranteed to sell out most shows, while Earle gets to play select dates reasonably close to home during the winter months. The restaurant’s New York location also has been the site of annual fundraisers Earle holds to benefit the special needs school his son attends.
This winter, Earle performed his first residency — one show in January and two in February — at the Washington, D.C., location that opened in April 2018. It marked the fourth time he’s played in the DMV in just the past 12 months, but his first solo outings.
After opener Shannon McNally’s short but strong set, which concluded with a lovely duet on Earle’s Lonely Are the Free, the 64-year-old singer-songwriter took the stage for a two-hour show. Totally comfortable in a solo setting, Earle seemed relaxed and engaged throughout, playing seven different instruments (including harmonica).
Politics, humor and “chick songs” dominated much of Earle’s set as the audience got a mix of the classics — Guitar Town, My Old Friend the Blues, Someday, the inevitable show closer Copperhead Road — as well as an intriguing series of deep cuts, a Guy Clark cover, and a new song that will come out on an album in 2020. As any longtime fan would expect, he also sprinkled caustic, funny and often sobering observations between songs.
Here are some:
After performing The Devil’s Right Hand: “Most homicides in the home take place in the kitchen unless there’s guns in the house. Then it’s the bedroom. And that’s a fact.”
Before performing Now She’s Gone: “This goes out to what’s her name, wherever the hell she is.” The next song, the lovely and heartbreaking “Goodbye,” was introduced with “Same girl. Different harmonica.”
Introducing the “chick song section of the program”: “I grew up in Texas and I didn’t play football so I picked up a guitar. … I started playing my first gigs when I was around 15 years old. I realized Mick Jagger and Bob Dylan scared the f--- out of 14-year-old girls so I learned a lot of Donovan songs.”
After playing “Sparkle and Shine” and “Lonelier Than This,” Earle introduced his 1995 song “Valentine’s Day” as “the flagship of the whole chick song fleet.” The song was accompanied by a sobering story.
“It was February 13, 1995. I was recently back in the world and could not get a license,” Earle said, referring to the drug addiction that threatened his life and career and landed him in prison for four months. “Remarkably, I never had a DUI. I just let my license expire, so I had 13 or 14 charges in three or four states, and it took a while to clean that up. Anyway, I didn’t have a driver but I had a legal pad and a pencil, so I did this.”
Earle wrapped up the section with You’re the Best Lover I Ever Had, then took a sharp turn with South Nashville Blues, a song about scoring drugs that “makes it sound a lot more f---ing fun than it was.” He noted that he’s been sober since September 13, 1994 and introduced CCKMP with “Lest I forget, welcome to my nightmare.”
The final third of the show included the night’s sole cover, Guy Clark’s “Desperadoes Waiting for a Train.” The song is part of “Guy,” an album of Clark compositions that Earle will release on March 31, in part because “I do not want to run into that muthaf---er on the other side” after paying tribute to his other mentor, Townes Van Zandt, on 2008’s “Townes.”
Earle then performed a new song, “John Henry is a Steel Driving Man,” a tribute to the 29 West Virginia coal miners who died in Upper Big Branch in 2010. It will be part of the country record he is releasing in 2020.
“I’m not preaching to the choir,” he said of the new record. “I did that, and I believe every word I wrote. In fact, I’m probably more radical now than I was then. But we do have a responsibility to listen to each other, and we’re not doing a good job of that right now. I want to make a record that speaks to people who didn’t vote the same way I did, so I’m swinging for the fences and trying to change hearts and minds. That’s how arrogant I am.”
After two more songs, the sing-along “City of Immigrants” and a lovely “Galway Girl,” Earle finished his set with “Copperhead Road” before returning to encore with “Christmas in Washington.” Introducing that song, his words hit home:
“What’s important, I think, is that people suit up and show up and vote,” he said to cheers from the audience. “But let’s go through it with as much kindness as possible. It’s OK to be angry; it’s not OK to be mean.”
Touring musicians with multiple albums always face a dilemma: How much should you play of the new stuff vs. the songs the audiences expects to hear. In many cases, the biggest hits are confined to the last two to three songs or the encores. Some groups have such deep catalogues that it’s impossible to hear everything you want in a single show. And some just eschew the hits all together, not caring if they alienate the audience.
Each move is risky. If the Rolling Stones play anything recorded post 1981, for example, you can bet many in the audience will be clogging the bathrooms or standing in the beer line while waiting for the umpteenth version of “Jumpin’ Jack Flash.” When Steve Earle hears calls for “Copperhead Road,” he gives the audience a look that could cut glass.
Neko Case has found a great balance and has stuck with it during a long tour for her latest album, 2018’s Hell-On. Working with a six-piece ensemble, Case has a 24-song setlist that mixes her best-loved material with the songs from the new album, which may be her strongest yet.
Case played 10 of Hell-On’s 12 songs during two shows recently at the Lincoln Theater. Recorded abroad with her usual variety of musicians and influences, the album captures Case’s trademark mix of sophisticated and at times ethereal lyrics with influences of rock, pop, alt-country, punk and rockabilly.
After opener Margaret Glaspy ended her set, Case opened with “Pitch or Honey,” which ironically closes out the new album. She came back with “Last Lion of Albion,” the first single that explores ecofeminist themes, then shifted to “Deep Red Bells” from Blacklisted. That was followed by “City Swans” from the winner of 2013’s longest album title — The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You.
2006’s Fox Confessor Brings the Flood took center stage for two songs, “Margaret vs. Pauline” and the sublime “Maybe Sparrow” before Case returned to the warm and country-tinged “Calling Cards” from The Worse Things Get.
At this point, Case takes a risk with five consecutive songs from Hell-On: the beautiful “Winnie,” the stomping good time of “Bad Luck,” “Cure of the I-5 Corridor,” “Gumball Blue,” and “Oracle of the Maritimes.” She then threw in two covers — Catherine Irwin’s “Hex,” and Sarah Vaughan’s “Look for Me (I’ll Be Around)” that Case recorded on Blacklisted.
Case’s new material is so strong that the audience sat rapt during the Hell-On songs, but — no surprise — the biggest cheers were for some of the older material. “Hold On, Hold On,” the third of four songs from Fox Confessor, and “Man,” from The Worse Things Get, closed the show on a high note before a five-song encore.
That encore started with the title track from the new album and ended with a cover of the Nervous Eaters’ “Loretta” and “Ragtime” from The Worse Things Get. It helped that her band was both versatile, and after touring for the better part of a year, in sync throughout.
That band is one reason I hope someone is chronicling this tour and that we can get a live release from Case. While the atmospheric qualities of her songs come through loud and clear in the studio, the new material especially takes on a different quality in a live setting. If you get a chance to see this tour when it comes to your town, don’t miss it.
This story is about the night Pearl Jam's lead singer went Americana, singing a cover of a Jason Isbell song. And how, despite the odds, my wife and I were there to see it.
On Sunday, closing out the Innings Festival in Tempe, Arizona, Eddie Vedder broke into "Maybe It's Time," the song Isbell wrote for Bradley Cooper's character to sing in "A Star is Born."
I was walking back to the spot Jill had saved for us while I shot the first three songs of Vedder's set. After we purchased VIP tickets to see the festival's second day, I sought a photo pass to shoot and write about it. My pitch, which the festival's PR team graciously accepted, was an essay on how seeing Eddie Vedder live was a bucket list item for my wife of almost 23 years.
We traveled from our home just outside Washington, D.C., to Tempe to attend the festival, now in its second year. Our purpose was to hear someone whose voice and songwriting my wife appreciates as much as Isbell, a performer we saw live in several venues last year.
Little did we know what was about to happen.
Released in late 1994, Pearl Jam's "Vitalogy" was a multiplatinum behemoth that completed a trilogy that started with "Ten" and continued with "Vs."
The album included several hit singles. But no song was bigger or has had a more lasting impact than "Better Man," an album-only track never released as a 45.
The story of a woman trying to get out of an abusive (physical, emotional or both is not specified) relationship, the song's protagonist fears she'll never be able to leave her partner. Vedder wrote the song in high school and later pitched it to the other Pearl Jam members, but the band initially refused to record it, feeling that it was too accessible for the style of music they were making.
Shortly after Jill and I met, "Better Man" started receiving airplay on the stations we listened to from nearby Greensboro and Raleigh. Trapped at the time in a cyclical relationship with no end in sight, "Better Man" particularly resonated with her during what is described most succinctly as a difficult time.
Fortunately, unlike the song's protagonist, Jill finally got the courage to terminate the relationship. It wasn't too long after that we married and had three children within the span of a year.
Flash forward a decade. Vedder has written the songs for 2007’s "Into the Wild," a soundtrack that is an unlikely — though deserved — hit. Although our fandom doesn't come close to matching that of Pearl Jam's most ardent admirers, my wife always has had great admiration for Vedder's playing and voice, especially solo. "Into the Wild" sealed it for her, and for me too.
Then, in 2009, Pearl Jam released "Just Breathe," one of the three most beautiful love songs we know. (The other two are Isbell's "Cover Me Up" and "If We Were Vampires, further completing the circle.) After hearing "Just Breathe," Jill tells me Vedder is someone she's like to see live.
Trouble is, between kids and busy work schedules, plus scant availability for any Pearl Jam show that plays within reasonable distance, we couldn't seem to make it work.
Enter the Innings Festival.
In 2018, organizers took advantage of Arizona's springtime climate — or what we call May in the rest of the world — and the start of baseball's spring training to throw a music festival at a park overlooking Tempe Town Lake.
When I saw Vedder would headline the second day of the festival this year, I moved quickly (for once) to snap up tickets. With the kids grown and out of the house, we have downsized and are working to check items off the bucket list when time and opportunities allow.
Like other events of this nature, the Innings Festival draws a diverse range of acts as well as a few baseball legends. Last year, for example, the Avett Brothers and Chris Stapleton were headliners along with Queens of the Stone Age, Phosphorescent and The Decemberists.
This year's lineup included Sheryl Crow, Cake and Incubus on Saturday. Sunday's lineup was an eclectic mix as well, with performances by The Record Company (a helluva opener), G. Love and Special Sauce, Jimmy Eat World, Shakey Graves, Liz Phair (strong), St. Paul & the Broken Bones (good in spots but not on their A game), Mat Kearney and Band of Horses (our favorites other than Vedder).
When we arrived Sunday so I could pick up the photo pass, Vedder's soundcheck was coming through the PA. Although he was not singing, he was playing "Better Man." Jill squeezed my hand. She had been waiting to hear this song live for almost 25 years, a sort of closure for something that dominated her life almost half a lifetime ago.
What I like about Vedder's solo shows, based on bootlegs and videos from his sporadic acoustic tours over the past decade, are the variety of covers he chooses to play.
His loose, free flowing Innings Festival set featured, in addition to various Pearl Jam and solo pieces, covers of songs by Warren Zevon, U2, Tom Petty, and The Beatles. He shredded the ukulele on a cover of The Clash's "Should I Stay or Should I Go," followed by Bruce Springsteen's "Open All Night."
Nothing, not even the appearance by Chicago Cubs manager Joe Madden (one of Vedder's closest friends) and several Cubs players "singing" back up on the "Hard Sun" closer, prepared us for "Maybe It's Time."
Vedder's sublime rendering of Isbell's song, a huge headline in music circles on Monday, makes sense. Cooper mannered parts of his "A Star is Born" role, who was from Arizona, on Vedder and met with the singer while developing the character.
But, as Isbell tweeted later, "Holy shit."
Having shot the start of the set, I was making my way back to Jill when the song started and pushed my way through the massive crowd to reach her for the last two-thirds.
There we stood, amid thousands of Vedder and Pearl Jam fans, lost in our thoughts and alone together.
That moment eased the sting a bit when Vedder, for whatever reason, ended his set without playing "Better Man." As I mentioned to my wife, his cover of a song by a writer we so appreciate may be the gateway to the next chapter, allowing us to put those long-ago memories behind us.
"Maybe it's time to let the old ways die..."
This essay, along with more photos from the festival, was posted on the Americana Highways website. For more photos from the various acts, check out my Concert Photography page soon. You also can find photos on my Instagram (@glenncookphotography) and on my Facebook photography page.
On the final stop of his first full tour as a headliner, Chris Stapleton stuck to the setlist. When your songs are as strong as his, that’s not a bad thing.
Stapleton’s All-American Road Show Tour, which started in May 2017, concluded its third and final leg Sunday night at Baltimore’s Royal Farms Arena. Playing songs in support of his second and third studio albums — the two-volume From A Room — as well as the multiple platinum seller Traveller, Stapleton’s mix of pure country and full-throated soul was on full display.
From the opener (“Midnight Train to Memphis”) to the closer (“Outlaw State of Mind”), the audience was treated to a generous mix of 19 songs from the three CDs. Because I was walking from the pit where I took photos during the first two numbers, I heard but did not see “Nobody to Blame” and most of “Hard Livin’,” but managed to get seated in time for a sublime version of “Millionaire.”
That was followed by a stunning version of “Might As Well Get Stoned,” featuring opener Brent Cobb. Two songs later, Marty Stuart joined Stapleton on stage for a cover of his “Now That’s Country” and Rodney Crowell’s “I Ain’t Livin’ Long Like This.”
At that point, it was hit after hit — “Whiskey and You,” “Broken Halos,” “Second One to Know,” “Traveller,” “I Was Wrong,” “The Devil Named Music,” “Parachute,” and the pre-encore closer “Tennessee Whiskey.” “Was It 26” and “Outlaw State of Mind” closed the show.
What I appreciate most about Stapleton is his no b.s., music-first approach to performance, whether it’s in the studio or on stage. Live, each song is treated with care, appropriately loud or quiet depending on what it demands. The stage setup is bright but not overwhelming. The road-tested band is as solid as Stapleton’s songs.
It’s been a heady year and a half for Stapleton, who in February became the first artist to hold the top three spots on Billboard’s country album chart. In July 2017, he played three days in support of Tom Petty and The Heartbreakers; three months later, Petty was dead. During a break between the first and second legs of the tour, he performed on Saturday Night Live with Sturgill Simpson and was featured on “Say Something,” a duet with Justin Timberlake.
Seven months ago, Stapleton and his wife, Morgane, had twins. On Friday, he announced from the stage at Madison Square Garden that their fifth child is on the way.
Now, except for performing at Joe Walsh’s “VetSaid 2018” benefit this weekend in Tacoma, Wash., he’s not scheduled to play again until March. Here’s hoping he enjoys the respite while we wait for the next classic album to emerge.
I’ve shot numerous concerts, shows and outdoor music festivals over the past several years, but this was my first experience photographing a show in a 14,000-seat arena. Unfortunately, due to traffic and a ticket mix up, I could not shoot Brent Cobb’s opening set, but I did catch Marty Stuart & His Fabulous Superlatives as well as Stapleton from the narrow pit.
Stuart’s eight-song set included three originals (“Lesson in Love,” “The Whiskey Ain’t Workin’, and the closer “Time Don’t Wait”) as well as five classic covers (“Country Music Got a Hold on Me,” “Mama Tried,” “Ring of Fire,” “Orange Blossom Special,” and “Pretty Boy Floyd”). Throughout, the singer and country music historian managed to transcend the arena’s size and turn it into a small club. And that’s no small feat.
A few thoughts on music from a 50-year-old white guy… (Photos are mine, too.)
I’ve spent my life trying to explain to people why I enjoy the music I like, and (usually unsuccessfully) why they should, too.
Leave it to Jason Isbell to explain it better than I could: “It’s punk, but it doesn’t sound like punk. It’s punk with different instruments and different songs.”
Isbell then goes on to explain, “It’s people who are trying to do the right thing. When it’s at its best, it’s people trying to make music because they love music, and they’re not trying to swindle anybody, they’re not trying to get rich and famous immediately, they’re trying to make music that goes back to their roots, they’re trying to have some credibility, they’re trying to be authentic.”
I recently saw Isbell at the UNITE to Face Addiction rally in Washington, D.C., where he was on the bill with Joe Walsh, Sheryl Crow, Steven Tyler, the Goo-Goo Dolls, and The Fray, among others. As a freelancer, I received a press pass to take pictures at the event, but my primary interest was seeing Isbell live for the first time.
All afternoon, I found myself telling people about Isbell’s music. Despite critical acclaim, especially for his last two albums, and growing awareness, many in the crowd didn’t know who he was.
“Just listen,” I said. “Then you’ll know.”
I turned around to look at the crowd during “Cover Me Up.”
I wish I could be a music critic or a concert photographer. I love capturing live events and think I’m pretty decent at it, but I'm not sure I'd be the most objective critic (if there is such a thing). I know what I like, what I don’t, and even though I’m open to anything that catches my ear, I’m reasonably sure my opinions wouldn’t gibe with much of what passes for criticism these days.
That said, here are some things I’ve heard recently that I’ve enjoyed and put into heavy rotation:
• Nathaniel Rateliff and the Night Sweats: “SOB”
The best, most unrepentant song I’ve heard since “Rehab.” It brings a smile to my face everytime I hear it, and the video is terrific. Their self-titled album gives me the same warm feeling that “St. Paul and the Broken Bones” did last year.
• Tommy Stinson: “Can’t Be Bothered”
I’m a huge fan of The Replacements, but only recently have gotten into Stinson’s solo work. This is his latest, a single from a yet-to-be-delivered album, and it’s really good. It made me go back and revisit Bash & Pop’s “Friday Night is Killing Me,” the first Stinson solo effort and best album that came from The Replacements ashes. That is, until Paul Westerberg delivered “Mono.”
• Keith Richards: “Crosseyed Heart”
“Live at the Hollywood Palladium,” an out-of-print live album from 1988, remains in my rotation because it represents the best of what made the Stones great. And that, at least for me, is Richards. His new album is more of the same, which is plenty good.
• Dave and Phil Alvin: “Lost Time”
The follow up to the brothers' “Common Ground” is better, more lived in, and always welcome, although I find myself yearning for an album by Dave and his Guilty Men lineup.
• Amy Helm: “Didn’t It Rain”
On what is an admittedly male-centric list, the solo debut by Levon’s daughter more than holds its own. Terrific harmony, nice songwriting, and a couple of cuts that feature Helm’s late father on drums.
• Ryan Adams: “1989”
Everyone it seems has an opinion on Adams’ track-by-track cover/reinterpretation of Taylor Swift’s multiplatinum album. No matter what you think about Swift, and I’m an admirer of her talent (although I could do without the rest), Adams’ effort ranks up there with his best and ballsiest work.
• William Harries Graham and the Painted Redstarts: “Foreign Fields”
Damn, this is good, and Graham is at least 20 years younger than anyone on my current list. Jon Dee Graham’s son contributes an album that is nothing like his father’s work musically. And when it’s this good, who cares?
Great quote: “I suppose that I didn’t know what I would become, but I always wanted to be extremely brave and I wanted to be a constant reminder to the universe of what passion looks like. What it sounds like. What it feels like.” — Lady Gaga
Like I’ve mentioned before, I’m a huge fan of The Replacements, and saw them twice on their all-too-brief (though highly entertaining) reunion. Still I couldn’t help but laugh after reading this comment recently: The Replacements and REM were the Beatles and The Rolling Stones for the fucked up.
An EP not on my earlier list but also worth mentioning is Glen Hansard’s tribute to Jason Molina, the Songs: Ohia and Magnetic Electric Co. singer/songwriter who died two years ago from alcohol-related complications at the age of 39.
“It Was Triumph We Once Proposed: Songs of Jason Molina” is Hansard’s five-song tribute. It includes loyal covers of two of Molina’s best-received compositions, “Hold On Magnolia” and “Farewell Transmission,” either of which makes the entire EP worth owning. “Farewell Transmission” is especially melancholy and beautiful, and a reminder of how too many musicians leave us too soon.
To see Molina perform “Farewell Transmission,” just click on the video. (Song starts at the 1:20 mark)
Great quote finale: From Jason Isbell, pretty much summing up my attitude toward writing about music in this or any other space — “I’m happy [for] anything that’s given me more of a home to do what I like to do.”