Tag Archives: music

John Doe’s "Psychadelic Soul Record" From the Desert

Mother Jones

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John Doe
The Westerner
Cool Rock Records/Thirty Tigers

Shepard Fairey & Aaron Huey

First heard almost 40 years (!) ago as a member of the great LA punk group X, John Doe never fit the clichés of the genre, intertwining his voice with bandmate Exene Cervenka’s in wailing harmonies that sounded more like hillbilly laments than nihilist diatribes. As a solo artist, he’s compiled a striking body of work that spans the 57 varieties of roots music. Dedicated to his late friend Michael Blake (author of Dances with Wolves), The Westerner is billed by Doe as his “psychedelic, soul record from the Arizona desert,” which is another way of saying he’s delivered a dusty, sure-handed set of vibrant down-home rock’n’folk full of longing, sympathy, and hope. Joined by guest vocalists Debbie Harry of Blondie and Chan Marshall (aka Cat Power), Doe remains a stirring singer who embodies weary determination and impassioned grace on the heart-tugging ballad “Sunlight” and the greasy foot-stomper “Go Baby Go.” Tough and tender and once, The Westerner is a genuine old-school treasure.

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John Doe’s "Psychadelic Soul Record" From the Desert

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Upbeat and High Lonesome With Teddy Thompson and Kelly Jones

Mother Jones

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Teddy Thompson & Kelly Jones
Little Windows
Cooking Vinyl

Missing Piece Group

George and Tammy…Porter and Dolly…Teddy and Kelly? Teddy Thompson (son of Richard and Linda) and Kelly Jones have a ways to go before they’re recognized as the next great male-female duo, but this winning twosome is off to a fine start with Little Windows. Blending their plaintive voices in seamless, high-lonesome harmonies that would do the Everly Brothers proud, they explore love’s many complications in memorable country-pop tunes both jaunty (“Wondering”) and mournful (“I Thought That We Said Goodbye”). Long on atmosphere and short on pandering nostalgia, despite an old-school vibe, songs like the dreamy 3:00 a.m. ballad “Don’t Remind Me” would inspire goosebumps in any era. Here’s to a long partnership!

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Upbeat and High Lonesome With Teddy Thompson and Kelly Jones

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The Podcast Where Icons Like Iggy Pop, U2, Björk, and Wilco Get to Totally Geek Out

Mother Jones

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The seeds of the popular podcast Song Exploder were sown in the mid-2000s, when Los Angeles musician Hrishikesh Hirway first sat down to remix other people’s songs and found himself spellbound by the nuances and complexities of the individual tracks within. “It felt like such a privileged listening experience,” he recalls.

About a decade later, in January 2014, Hirway launched the podcast—which, over two-plus years and 68 episodes, has earned him a devoted fan base and interviews with superstars such as U2, Björk, and the National. Each episode deconstructs a single song, mashing up musical elements with audio snippets of the creators geeking out on gear or talking about what drives them to make music. It’s an experience dense with sounds, ideas, and narrative momentum that culminates in the fully assembled song. But Song Exploder transcends mere music. “It’s about how you take an idea from nothing to something fully realized,” the host explains.

Hirway is familiar enough with the process. He began recording as a college junior, calling himself “The One AM Radio.” Since relocating from his Peabody, Massachusetts, hometown to LA in 2006, he’s written scores for several films. And in 2013, he co-founded the hip-hop group Moors with rapper-actor Keith Stanfield of Straight Outta Compton fame.

Hirway at home in Los Angeles. Courtesy Song Exploder

At first, Hirway recruited musician friends as his podcast subjects, but he soon began reaching outside his social circles: an email to an address he found online led to an interview with composer Jeff Beal, known for his work on House of Cards. Persistence and luck—and help from fans of the podcast—have kept the big names rolling in. Last fall, while struggling to reach Wilco, Hirway remembered that the son of bandleader Jeff Tweedy had recently followed the podcast on Twitter; the episode came together within days.

Much of the podcast’s appeal lies in Hirway’s uncanny ability to bypass journalistic awkwardness in favor of honest and intimate conversations about music and life. A single episode will introduce you to an artist, but listening religiously offers something more: a glimpse into the nature of creativity and the eccentric ways musicians cultivate it. In one arresting episode, multi-instrumentalist Nick Zammuto of the experimental duo the Books tells Hirway how he plucked the lyrics of “Smells Like Content” from educational TV shows and the facade of the Brooklyn Public Library. “People labor over lyrics a lot, but really they’re kind of all around us all the time,” Zammuto says.

In another episode, members of the noise band Health explain how a programming error—”the whole song glitches, basically”—ended up in the chorus of “Stonefist.” Again and again, Hirway’s listeners encounter artists who are learning to embrace accidents, imperfections, and curveballs that collaborators throw their way. Shared, too, is the artists’ palpable thrill in describing how some songs emerge seemingly of their own accord. “You sit back and go, ‘How did I do that?'” says Wilco’s Tweedy.

Ultimately, Hirway aims to provide an experience that even someone without a note of musical training can relate to. After all, “Creativity is not this opaque box, this laboratory that is only accessible to a chosen few…All you really need is an idea and the will to see it through.”

Wilco’s Jeff Tweedy talks music with Hirway during a taping. Courtesy of Song Exploder

Explain That Tune

Being asked to choose your favorite Song Exploder episode is like being asked to name your favorite child. But these five selections offer a good taste of what Hirway’s podcast has to offer:

The Books’ Nick Zammuto, “Smells Like Content“: If you thought there were limits to what constitutes music, Zammuto will prove you wrong. He describes his use of such humble materials as PVP pipe and vinyl records—not the music on the records, but the records themselves—in this seminal early episode.

Courtney Barnett, “Depreston“: Barnett had a big 2015. The Australian rocker’s debut album, Sometimes I Sit and Think, and Sometimes I Just Sit, received rave reviews, and Barnett was nominated for the “best new artist” Grammy. In this episode, Barnett breaks down the track “Depreston” with characteristic wit and insight.

MGMT, “Time to Pretend“: If you’ve left your fortress in the last eight years, you’ve undoubtedly heard this song. Written when the band members were still in college, “Time to Pretend,” an anthem to imaginary stardom, had the surprise effect of making its creators famous. In this episode, MGMT recounts the song’s evolution—and how it felt to perform in druid capes on David Letterman.

Natalia Lafourcade, “Hasta la Raíz“: While Song Exploder has featured plenty of famous artists, Hirway also sees it as a vehicle for introducing accomplished musicians to a broader public. Mexican singer-songwriter Natalia Lafourcade was the perfect candidate: She won four Latin Grammys last year and an American Grammy in February, but is still little-known north of the border.

Ramin Djawadi, Game of Thrones theme: If you could somehow conjure up the musical equivalent to the word “epic,” it might sound like this. Composer Ramin Djawadi describes how he crafted the signature theme to the hit HBO show Game of Thrones, and what it was like to see the melody become an internet phenomenon, interpreted by fans and musicians around the world.

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The Podcast Where Icons Like Iggy Pop, U2, Björk, and Wilco Get to Totally Geek Out

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Jennifer O’Connor’s Lyrics Cut Straight to the Heart of a Desperate Situation

Mother Jones

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Jennifer O’Connor
Surface Noise
Kiam

Courtesy of Kiam Records

Thanks to her dry, deadpan delivery, Jennifer O’Connor could fool a careless listener into thinking she’s cool and detached. Au contraire. On her fine sixth album, and first outing in five years, this unassuming yet gifted singer-songwriter quietly injects her catchy folk-pop with shots of undiluted raw emotion, telling gripping stories of hearts in turmoil without slipping into cheesy melodrama. As evidenced by the use of her music in an iPhone ad and such TV shows as Orange Is the New Black, O’Connor can craft smooth melodies you’ll want to hum all day, but her real gift is the casually tossed-off lyric that cuts straight to the heart of a desperate situation. “Where do you go, when the road ahead just ends?/’Cause you made the same wrong turn over and over again,” she murmurs in “The Road,” while “It’s Gonna Get Worse” finds her calmly asking, “Tell me why you stand there, staring at your feet,” adding tersely, “Take out the trash.” Elsewhere, the hushed closing track “Black Sky Blanket” would do Lou Reed proud. Title to the contrary, Surface Noise is insightful, subtle, and intriguing.

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Jennifer O’Connor’s Lyrics Cut Straight to the Heart of a Desperate Situation

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The Pure Pleasure of "Getz/Gilberto ’76"

Mother Jones

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Stan Getz and Joao Gilberto
Getz/Gilberto ’76
Resonance

Courtesy of Resonance Records

In 1964, with America in the throes of Beatlemania, “The Girl from Ipanema” breezed into the Top Five and sparked the bossa nova craze. This unlikely hit was a collaboration between American tenor sax great Stan Getz and Brazilian singer-guitarist Joao Gilberto (with enchanting vocals by his soon-to-be-ex-wife Astrud Gilberto), who would continue to work together on and off in the 1960s and ’70s. The previously unreleased Getz/Gilberto ’76 is pure pleasure, as inviting as a gentle summer breeze (something especially welcome this time of year). Recorded at San Francisco’s Keystone Klub—you can hear glasses clinking in the background, with no detriment to the music—this delicious live set features Gilberto’s shimmering acoustic guitar and gentle singing unaccompanied on some tracks; elsewhere, he’s supported by Getz’s gorgeous sax and deftly understated band, which includes pianist Joanne Brackeen, bassist Clint Houston, and drummer Billy Hart. Either way, it would be almost impossible to overstate the silkily seductive charms of this wonderful set. For those who prefer a straight-ahead jazz experience, the same cast, minus Gilberto, shines on the companion release Moments in Time, also previously unheard and recorded at the same venue.

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The Pure Pleasure of "Getz/Gilberto ’76"

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TEEN’s "Love Yes" Is a Sleek Affair

Mother Jones

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TEEN
Love Yes
Polyvinyl

Courtesy of Carpark Records

Led by Teeny Lieberson, the New York-based combo TEEN (which also includes Lieberson’s two sisters) has undergone a dramatic sonic makeover in the course of just three albums without sacrificing its off-kilter sensibility. The quartet began as the garage-rock version of a synth band, playing electronica with abundant rough edges. Today, they’re the epitome of polish, with supersleek melodies and gleaming vocal harmonies that echo the slickest modern R&B. But the songs are restless, probing studies of troubled sexuality and corrosive isolation, pondering “a suffered heart from years without touch” in “Push” and confronting ambivalence over a longterm commitment on “Another Man’s Woman.” Love Yes functions equally well as consummate easy listening and as a subtle antidote to complacency.

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TEEN’s "Love Yes" Is a Sleek Affair

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Clinton Beats Sanders, 50-50

Mother Jones

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I’m not much of a horse-race guy, but it sure seems like the horse race is now key to the future of the Democratic primaries. The problem for Bernie Sanders is that he has an obvious structural disadvantage—superdelegates are almost 100 percent Clinton supporters—as well as a problem in the states following New Hampshire. So he needs to follow up his good showing in Iowa with electrifying results in New Hampshire.

But he can’t. He started opening up a big lead in New Hampshire at the beginning of January, and the polls now have him 20 points ahead. To generate any serious shock waves he’d have to win by 30 or 40 points, and that’s just not in the cards. Obviously anything can happen, but at this point it looks like Sanders wins in New Hampshire; it’s entirely expected and ho hum; and Clinton then marches implacably on to the nomination. It’s hard for me to see a likely scenario in which anything different happens.

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Clinton Beats Sanders, 50-50

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Rapper B.o.B Insists Earth Is Flat. Take That, Neil deGrasse Tyson.

The Grammy-nominated performer posted photos of flat horizons and a recording — a “diss track” — critical of the celebrity astrophysicist. See original article here:  Rapper B.o.B Insists Earth Is Flat. Take That, Neil deGrasse Tyson. ; ; ;

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Rapper B.o.B Insists Earth Is Flat. Take That, Neil deGrasse Tyson.

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Composer Noveller’s Otherworldly Soundscapes

Mother Jones

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Noveller
Glacial Glow and No Dreams
Fire

Courtesy of Fire Records

Anyone who was transfixed by the otherworldly beauty of Noveller’s liquid ambient soundscapes on the immersive 2015 album Fantastic Planet will want to check out the reissues of her two previous efforts. The equally spellbinding Glacial Glow (2011) and No Dreams (2013) find Noveller, aka Sarah Lipstate, subjecting her electric guitars through a host of sound-altering effects, creating intriguing noise suggesting strings, synths, full orchestras and primal rumblings from the subconscious. The mood flows gradually from pastoral to anxious and back, impermanence being the point. Just when you start to get comfortable, everything shifts, creating a sense of heightened alertness that’s both exhilarating and unsettling.

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Composer Noveller’s Otherworldly Soundscapes

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Look at These Great Portraits of Doc Watson, Ralph Stanley, Etta James, and Algia Mae Hinton

Mother Jones

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I didn’t come up in the rural mountains, but my mother did, and during our vacations we’d find ourselves in the forest-and-meadows paradise of Southern Vermont, where just about any social gathering is an excuse to break out the instruments and play some old-time country tunes.

It’s also a place where just about everyone, it seems, has some kind of side talent, or at least something to barter. Wendy makes winter wreaths. Jerry sells jugs of home-brewed hard cider, milk, butter, and fresh eggs from his chickens. And Pete will carve you a custom mantelpiece when he isn’t building post-and-beam barns. People raised in these mountains don’t have a lot of cash, but they tend to be self sufficient—and they’re that way with music, too. If you can’t play some damned instrument, well, you can at least do the spoons, can’t you? It’s the people’s music.

Roan Mountain Hilltoppers at Fiddler’s Grove, 2003, Iredell County, N.C.

All this is by way of background as to why Hands in Harmony, a collection of portraits of Appalachian craftspeople and musicians by photographer Tim Barnwell, hit a note. It’s a long way from the mountains of Southern Vermont to the mountains of North Carolina, but in the music and lifestyle the distance is not so vast.

There’s a simple honesty, a complete lack of pretension, in Barnwell’s subjects, who consist both of notable artists—such Doc Watson, various Seegers, Earl Scruggs (who cut his teeth playing for Bill Monroe), Etta Baker, Ralph Stanley, and Laura Boosinger—and the unsung artisans and craftspeople who are equally skilled in their way, producing not songs but furniture, baskets, stories, pottery, or musical instruments. (This selection focuses on the music.)

Doc Watson backstage, 1983, Buncombe County, N.C.

The accompanying soundtrack, put together by Barnwell and dulcimerist Don Pedi, is appropriately hillbilly. That’s no put-down. That’s actually Ralph Stanley’s word for the music, since a lot of it came along decades, in some cases centuries, before anyone started calling it bluegrass. (That coinage emerged from the popularity of Kentucky’s late Bill Monroe, also pictured in the book, who named his backing band the Bluegrass Boys.)

Ralph Stanley Sr. with grandson Ralph III, 2007, Wise County, VA.

The producers did well. The CD features a nice gritty selection of songs, kicking off with 87-year-old Clyde Davenport of Kentucky doing “Over the Hill to See Betty Baker”—a lonely fiddle tune to put your mind on location—followed by a raw a cappella version of “William Riley” by Mary Jane Queen of North Carolina, who passed on recently at the age of 93. I already knew a number of these songs, and have even performed a few, but most of the versions were new to me. Old-time musicians borrow and steal bits from one another the way hip-hop producers do.

Algia Mae Hinton, 2007, Nash County, N.C.

I especially liked Algia Mae Hinton’s “Out of Jail,” and Barnwell’s portrait of her just makes you want to give her a hug, doesn’t it? I also liked the old fiddle tunes, including Byard Ray’s version of “Billy in the Low Ground,” Marcus Martin’s “Wounded Hoosier,” Roger Howell’s “Lafayette,” and Charlie Acuff‘s rendition of the old dance tune, “Two O’Clock.” Etta Baker‘s guitar work on “Carolina Breakdown,” stylistically similar to Doc Watson, is a pleasure, as is Pedi’s “That Pretty Girl Won’t Marry Me.”

Charlie Acuff, 2003, Anderson County, TN.

Now I like some grit in my hillbilly music, but no less alluring are Laura Boosinger’s more polished “Letter from Down the Road” and Sheila Kay Adams’ pairing of the old murder tale “Young Hunting” with “Elzic’s Farewell,” a Civil War-era song out of West Virginia.

It’s a solid collection in all, and just the thing to set the mood as you study Barnwell’s portraits, peruse the accompanying histories, and ponder how it would be to live in the mountains his camera inhabits.

Etta Baker, 2005, Burke County, N.C.

Earl Scruggs and son Gary, 2007, Jackson County, N.C.

Grover Sutton, 1987, Haywood County, N.C.

Laura Boosinger, 2006, Buncombe County, N.C.

Roger Howell, 2002, Madison County, N.C.

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Look at These Great Portraits of Doc Watson, Ralph Stanley, Etta James, and Algia Mae Hinton

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