No Depression went from one of the best magazines ever that wrote about Americana music, to being the best site today for the music. I check the site every day, to learn, to listen, and to enjoy.
Today there was this little treasure from 20 years ago. If you've ever been in a spot in your life where you just want to be left alone, you'll instantly catch on to this song. And, if not, Prine's and a young Griffith's voices just meld together, with Prine's voice taking on the characteristics of a footfalls on a gravel road and Griffith's like wind on the trees.
Showing posts with label alt/indie music. Show all posts
Showing posts with label alt/indie music. Show all posts
Friday, December 17, 2010
Tuesday, September 28, 2010
Breathe Owl Breathe at Club Passim
Definitely a band you have to see to truly appreciate, Breathe Owl Breathe opened two nights ago for Mark Olson at Club Passim. Funny, quirky--yes, I'm sure that word is used a lot to describe them--their music is beautiful, their melodies catchy, and their lyrics (and stage presence) are quirky--there's that word again.
These three interesting and thought-provoking performers--Micah Middaugh (guitar, vocals), Andréa Moreno-Beals (cello, vocals) and Trevor Hobbs (percussion) from Michigan combine acoustic guitar, cello, drums, and a few non-standard instruments and electronics and theatrics to tell their stories, and it's all a bit mesmerizing and entertaining. There's a funny sort of innocence about their act, which is what it is. It's not just music but rehearsed sounds and some movement, and it is a bit like watching grown-up children at play.
The song they opened with started out with Micah setting the scene, on a boat, out on the ocean with the wind blowing. He rocked and swayed, while he blew into the microphone while Trevor knocked and brushed the rigging on his drums and Andrea set the mood on her mournful cello.
Here's Dog Walkers of the New Age
And here's Lake Light
Breathe Owl Breathe - Lake Light from Miscellany on Vimeo.
These three interesting and thought-provoking performers--Micah Middaugh (guitar, vocals), Andréa Moreno-Beals (cello, vocals) and Trevor Hobbs (percussion) from Michigan combine acoustic guitar, cello, drums, and a few non-standard instruments and electronics and theatrics to tell their stories, and it's all a bit mesmerizing and entertaining. There's a funny sort of innocence about their act, which is what it is. It's not just music but rehearsed sounds and some movement, and it is a bit like watching grown-up children at play.
The song they opened with started out with Micah setting the scene, on a boat, out on the ocean with the wind blowing. He rocked and swayed, while he blew into the microphone while Trevor knocked and brushed the rigging on his drums and Andrea set the mood on her mournful cello.
Here's Dog Walkers of the New Age
And here's Lake Light
Breathe Owl Breathe - Lake Light from Miscellany on Vimeo.
Tuesday, January 19, 2010
The Low Anthem on David Letterman
I can't believe I saw these guys a few years back at All Asia on a fluke. I was there to see another band and was walking out the door when they started up. I knew I was hearing something special. I spun on my heels, sat down and listened to their set, got up and was walking out the door when I felt someone grab my shoulder. Ben had come off stage to thank me for listening to them.
Great people. Talented artists. I mean, check it out, the dude is playing a saw on David Letterman.
Here's their site.
Great people. Talented artists. I mean, check it out, the dude is playing a saw on David Letterman.
Here's their site.
Monday, January 18, 2010
Joyful Noise
I used to like to watch people greet each other at the airport. Old friends and family who haven't seen each other in a while. There was always such a spontaneity to their greeting. Some people would just throw themselves at each other, others would be a bit more timid, and you could tell even the ones who might have a bit of a rift between them still experienced something that just brought them together. That's what I saw last night. That spontaneous kind of joy that people just can't resist; it's just there and there's not fighting it.
Last night we checked out Sally O'Brien's in Somerville to see our teacher, Lloyd Thayer, Thea Hopkins, and Bill McQuaid play. All three are such fine, talented, mature musicians, and it was a joy to sit at a table, sip a Harp, and watch three people find simple joy in being together and doing something that gives them so much happiness and fulfillment. Lloyd and Bill both were playing, along with other instruments, steel guitars, both from circa 1930. Beautiful instruments and I was looking at them thinking, who in God's name came up with something like that. Lloyd plays the Dobro and he plays the steel guitar on his lap with a slide and finger picks. Bill holds his like you normally hold a guitar. And just to round things out, Thea brought a Guild D30, that was her baby. We were all talking briefly before the show and I mentioned that just that day I was saw my dream guitar: a Guild D-40. If anyone has $2,000 they want to give me, just let me know.
They played in the round, each taking a turn at a song, sometimes one or the other filling in with an accompaniment on the guitar or vocals or Lloyd on the harmonica.
Bill plays songs almost exclusively from the 1920s and '30s. Well, what'd you expect with that National steel guitar? He's like an archivist, keeping those songs alive, playing and singing them authentically. I, like so many people, have heard recordings of say, Robert Johnson or some old guy like Mississippi John Hurt, and it's all crackly and echoing and that's cool, like ghosts from the past. But Bill brings the songs to life; you're listening just like other folks were hearing them when they were being played live, and the lyrics, in the simple words and phrases like people spoke in those days, and the topics of those day--women, hard times, jail--are eerily relevant today, with today's economy.
Thea Hopkins is such a soulful singer, her voice rich and deep and buttery. She's the one who seemed the most delighted to be on stage, sometimes smiling with her mouth and other times with her eyes in a very childlike way, and as the night wore on she wrapped her lanky frame more around her guitar and sort of slouched in her chair in the most comfortable way. She just was loving every minute of it. She played a lot of her own music, pretty, thoughtful, spiritual melodies. Definitely a feminine voice (again, what did you expect?) but a mature, feminine voice that spoke with wisdom. It's hard to label the kind of music we heard last night--Delta blues, country blues, spiritual, gospel; it all cross pollinates and that's what makes it so wonderful, so impossible to churn it out in a formula like Nashville does with it's corporate country. But Thea seems close to what best can be described as country while she dips her toes into bluegrass, and it was funny that she introduced a Gillian Welch song she was about to play right at the time a friend of ours leaned over and said that she loved the music, loves all music, well, except for country. I just kept my mouth shut. There was no reason to say anything.
Lloyd plays...well, Lloyd last night played a lot in the key of F. He plays Dobro but also lays his steel guitar and an acoustic on his lap and plays them like a slide guitar. Bluesy, soulful--again, it's hard to classify, and I don't know why you'd want to, unless you're saying right now, well, John, if you could be a bit more specific so I could understand what he's like maybe some day I'll go check him out. He also plays a mean harp, again, a lot of blues riffs, so maybe if you're looking for a label let's call him old-timey, Delta blues with a dose of Appalachia thrown in for spice.
I titled this post, Joyful Noise because that's the term given to what a lot of gospel choirs do, giving up a joyful noise to the Lord. I think there's all kind of way of praying and giving thanks and giving recognition to a creator. Then there's that quote, God respects me when I work, but he loves me when I sing. That last one pretty much sums up what we saw last night.
Last night we checked out Sally O'Brien's in Somerville to see our teacher, Lloyd Thayer, Thea Hopkins, and Bill McQuaid play. All three are such fine, talented, mature musicians, and it was a joy to sit at a table, sip a Harp, and watch three people find simple joy in being together and doing something that gives them so much happiness and fulfillment. Lloyd and Bill both were playing, along with other instruments, steel guitars, both from circa 1930. Beautiful instruments and I was looking at them thinking, who in God's name came up with something like that. Lloyd plays the Dobro and he plays the steel guitar on his lap with a slide and finger picks. Bill holds his like you normally hold a guitar. And just to round things out, Thea brought a Guild D30, that was her baby. We were all talking briefly before the show and I mentioned that just that day I was saw my dream guitar: a Guild D-40. If anyone has $2,000 they want to give me, just let me know.
They played in the round, each taking a turn at a song, sometimes one or the other filling in with an accompaniment on the guitar or vocals or Lloyd on the harmonica.
Bill plays songs almost exclusively from the 1920s and '30s. Well, what'd you expect with that National steel guitar? He's like an archivist, keeping those songs alive, playing and singing them authentically. I, like so many people, have heard recordings of say, Robert Johnson or some old guy like Mississippi John Hurt, and it's all crackly and echoing and that's cool, like ghosts from the past. But Bill brings the songs to life; you're listening just like other folks were hearing them when they were being played live, and the lyrics, in the simple words and phrases like people spoke in those days, and the topics of those day--women, hard times, jail--are eerily relevant today, with today's economy.
Thea Hopkins is such a soulful singer, her voice rich and deep and buttery. She's the one who seemed the most delighted to be on stage, sometimes smiling with her mouth and other times with her eyes in a very childlike way, and as the night wore on she wrapped her lanky frame more around her guitar and sort of slouched in her chair in the most comfortable way. She just was loving every minute of it. She played a lot of her own music, pretty, thoughtful, spiritual melodies. Definitely a feminine voice (again, what did you expect?) but a mature, feminine voice that spoke with wisdom. It's hard to label the kind of music we heard last night--Delta blues, country blues, spiritual, gospel; it all cross pollinates and that's what makes it so wonderful, so impossible to churn it out in a formula like Nashville does with it's corporate country. But Thea seems close to what best can be described as country while she dips her toes into bluegrass, and it was funny that she introduced a Gillian Welch song she was about to play right at the time a friend of ours leaned over and said that she loved the music, loves all music, well, except for country. I just kept my mouth shut. There was no reason to say anything.
Lloyd plays...well, Lloyd last night played a lot in the key of F. He plays Dobro but also lays his steel guitar and an acoustic on his lap and plays them like a slide guitar. Bluesy, soulful--again, it's hard to classify, and I don't know why you'd want to, unless you're saying right now, well, John, if you could be a bit more specific so I could understand what he's like maybe some day I'll go check him out. He also plays a mean harp, again, a lot of blues riffs, so maybe if you're looking for a label let's call him old-timey, Delta blues with a dose of Appalachia thrown in for spice.
I titled this post, Joyful Noise because that's the term given to what a lot of gospel choirs do, giving up a joyful noise to the Lord. I think there's all kind of way of praying and giving thanks and giving recognition to a creator. Then there's that quote, God respects me when I work, but he loves me when I sing. That last one pretty much sums up what we saw last night.
Friday, January 8, 2010
Girls Guns and Glory: 667
You can catch them tomorrow night at The Pressman in Portsmouth, NH and on the 23rd at the Paradise.
Sunday, January 3, 2010
Blame Sally: Pajaros Sin Alas
I've been a big fan of Blame Sally since we saw them a few months back at Club Passim.
Here's a video of a live performance in Colorado - this song will be on Blame Sally's next album. It's called "Pajaros Sin Alas", which means "bird without wings".
Here's a video of a live performance in Colorado - this song will be on Blame Sally's next album. It's called "Pajaros Sin Alas", which means "bird without wings".
Wednesday, September 23, 2009
Check out Audrey Ryan this Thursday (9.24) at TT the Bear
I saw Audrey Ryan open for The Bittersweets at Club Passim a couple of months ago, and strongly suggest if you get the chance to see her perform to take the opp. I'm on her email list and got this. Just read it and you get an idea of what she's like. Check out her music here.
Here's a YouTube vid of her from a few years ago. She's an eclectic performer. The night I saw her she played accordion, a few percussion instruments, and she worked with a digital loop gizmo to accompany her music.
Here's her email:
So even though I promised to cease playing local shows before my CD release on October 17th I still got offered a few I couldn't resist. I'll be playing tomorrow night at TTs the Bears with Elizabeth and the Catapult which is an indie rock outfit from NYC.
Thursday, September 24th @9pm
TT the Bears
Brookline Ave, Cambridge
9:15 - Audrey
10:30- For Orange Nichole
11:30- Elizabeth and the Catapult
Tix are $10 and it's 18+
I also recently did something I've never done before which is agree to be apart of a "competition" or more specifically a battle of the bands. In general I find these sort of things to be sort of asinine, after all how can you compare different kinds of bands? It's usually apples and oranges...but anyway, I did the first round of the "River Rising Star 09'" competition sponsored by The River 92.5 FM and well...I won...
so the finals are next month on Thursday, October 15th, venue TBA... However, I'd like to emphasize that I'd really just like all my friends and other people who appreciate my music (don't like the word "fans") to come to my dual CD release and documentary premiere of "the Loft Show Upstairs" movie. This is the show not to miss so please put it on your calender, plus there's even free beer and wine!! So how could you not go?
CD RELEASE:
Saturday, October 17th @7:30pm
The Sanctuary @ the Clarendon Hill Presbyterian Church
155 Powderhouse Blvd.
Somerville
(near Tufts, public transportation from Davis Square, or bus to Teele Square)
$5 general admission;
$10 admission and copy of new CD “I Know, I Know”
Schedule:
7:30pm- opener “Gretel”
8:30pm- Audrey Ryan
9:45pm- screening of documentary “Loft Show Upstairs” (40 minutes)
We will be providing free snacks and drinks including beer and wine while supplies last.
Thanks,
Audrey
And here's a bonus: A YouTube vid of Elizabeth and the Catapult.
Here's a YouTube vid of her from a few years ago. She's an eclectic performer. The night I saw her she played accordion, a few percussion instruments, and she worked with a digital loop gizmo to accompany her music.
Here's her email:
So even though I promised to cease playing local shows before my CD release on October 17th I still got offered a few I couldn't resist. I'll be playing tomorrow night at TTs the Bears with Elizabeth and the Catapult which is an indie rock outfit from NYC.
Thursday, September 24th @9pm
TT the Bears
Brookline Ave, Cambridge
9:15 - Audrey
10:30- For Orange Nichole
11:30- Elizabeth and the Catapult
Tix are $10 and it's 18+
I also recently did something I've never done before which is agree to be apart of a "competition" or more specifically a battle of the bands. In general I find these sort of things to be sort of asinine, after all how can you compare different kinds of bands? It's usually apples and oranges...but anyway, I did the first round of the "River Rising Star 09'" competition sponsored by The River 92.5 FM and well...I won...
so the finals are next month on Thursday, October 15th, venue TBA... However, I'd like to emphasize that I'd really just like all my friends and other people who appreciate my music (don't like the word "fans") to come to my dual CD release and documentary premiere of "the Loft Show Upstairs" movie. This is the show not to miss so please put it on your calender, plus there's even free beer and wine!! So how could you not go?
CD RELEASE:
Saturday, October 17th @7:30pm
The Sanctuary @ the Clarendon Hill Presbyterian Church
155 Powderhouse Blvd.
Somerville
(near Tufts, public transportation from Davis Square, or bus to Teele Square)
$5 general admission;
$10 admission and copy of new CD “I Know, I Know”
Schedule:
7:30pm- opener “Gretel”
8:30pm- Audrey Ryan
9:45pm- screening of documentary “Loft Show Upstairs” (40 minutes)
We will be providing free snacks and drinks including beer and wine while supplies last.
Thanks,
Audrey
And here's a bonus: A YouTube vid of Elizabeth and the Catapult.
Wednesday, August 26, 2009
Viva la Vinal Festival in Somerville this weekend
And speaking of Audrey Ryan, she sent this out to to her email list the other day.
Free music; you can't beat that.
Here's the body of her email:
So this weekend is Viva la Vinal Festival 2009, lots of FREE music and fun so come bring your blankets or chairs and spend an evening in a beautiful garden setting…
Friday August 28 & Saturday August 29 from 4-10:00 pm
(rain date August 30)
In the garden at…
The Somerville Community Growing Center
22 Vinal Ave., Somerville (near Union Square)
www.thegrowingcenter.org
Please come join us at this annual neighborhood event as we celebrate the Growing Center and our local artists and businesses.
• Live world, folk, bluegrass, Americana, and singer-songwriter music from local artists
• Children’s music by Charlie Hope on Friday August 28 from 4-5 pm.
• Raffle featuring prizes and gift certificates from local businesses such as the Sherman Café, Hub Comics, Grand, Precinct, Block 11, the Independent, Cantina Mexicana, and many other local Union Square businesses.
• Concession stand with affordable snacks and beverages to help benefit artists and the garden.
The festival is free to the public and all ages are welcomed. Donations are
accepted to support the event.
To check on weather cancellations please call 617-320-0538 or visit
www.thegrowingcenter.org and click on ‘calendar’.
Viva la Vinal Schedule 2009
Friday August 28th, 4-10pm
4:00-5:00- Charlie Hope (Children’s music)
5:00-5:45- David Wax Museum (Somerville folk-Americana band)
5:45- 6:30- Abbie Barret (Somerville folk-country artist)
6:30- 7:15- Akshara Percussion Ensemble (traditional Indian music)
7:15- 8:00- Dan Blakeslee (Boston indie folk artist)
8:00- 8:45- The Accident That led Me to the World (Northampton folk)
8:45- 9:30- Jennifer Greer (Somerville indie pop singer-songwriter)
Saturday August 29th, 4-10pm
4:00-4:45- Julie Dougherty (North Shore folk singer)
4:45-5:30- Chuck Muldoon (Portland acoustic instrumental guitarist)
5:45- 6:30- Rakiya (Cambridge world music band)
6:30- 7:15- Audrey Ryan (Somerville indie rock singer-songwriter)
7:15- 8:00- Danielle Miraglia (Somerville folk-blues singer)
8:00- 8:45- Seymour (Portland indie folk band)
8:45- 9:30- The Points North (Boston bluegrass folk act)
Free music; you can't beat that.
Here's the body of her email:
So this weekend is Viva la Vinal Festival 2009, lots of FREE music and fun so come bring your blankets or chairs and spend an evening in a beautiful garden setting…Friday August 28 & Saturday August 29 from 4-10:00 pm
(rain date August 30)
In the garden at…
The Somerville Community Growing Center
22 Vinal Ave., Somerville (near Union Square)
www.thegrowingcenter.org
Please come join us at this annual neighborhood event as we celebrate the Growing Center and our local artists and businesses.
• Live world, folk, bluegrass, Americana, and singer-songwriter music from local artists
• Children’s music by Charlie Hope on Friday August 28 from 4-5 pm.
• Raffle featuring prizes and gift certificates from local businesses such as the Sherman Café, Hub Comics, Grand, Precinct, Block 11, the Independent, Cantina Mexicana, and many other local Union Square businesses.
• Concession stand with affordable snacks and beverages to help benefit artists and the garden.
The festival is free to the public and all ages are welcomed. Donations are
accepted to support the event.
To check on weather cancellations please call 617-320-0538 or visit
www.thegrowingcenter.org and click on ‘calendar’.
Viva la Vinal Schedule 2009
Friday August 28th, 4-10pm
4:00-5:00- Charlie Hope (Children’s music)
5:00-5:45- David Wax Museum (Somerville folk-Americana band)
5:45- 6:30- Abbie Barret (Somerville folk-country artist)
6:30- 7:15- Akshara Percussion Ensemble (traditional Indian music)
7:15- 8:00- Dan Blakeslee (Boston indie folk artist)
8:00- 8:45- The Accident That led Me to the World (Northampton folk)
8:45- 9:30- Jennifer Greer (Somerville indie pop singer-songwriter)
Saturday August 29th, 4-10pm
4:00-4:45- Julie Dougherty (North Shore folk singer)
4:45-5:30- Chuck Muldoon (Portland acoustic instrumental guitarist)
5:45- 6:30- Rakiya (Cambridge world music band)
6:30- 7:15- Audrey Ryan (Somerville indie rock singer-songwriter)
7:15- 8:00- Danielle Miraglia (Somerville folk-blues singer)
8:00- 8:45- Seymour (Portland indie folk band)
8:45- 9:30- The Points North (Boston bluegrass folk act)
Thursday, June 18, 2009
Pass the Buddha--Blame Sally
Blame Sally are going to be at Club Passim in Cambridge, Mass. on Wednesday, June 24. Check them out.
Tuesday, April 14, 2009
The Bittersweets with Audrey Ryan at Club Passim--April 8, 2009
Front row table at Club Passim to see The Bittersweets, who I first heard on Radio Paradise and just fell in love with their music, their lyrics, their harmonies. The Bittersweets are Chris Meyers (guitar, keyboards, vocals) and Hannah Prater (vocals, guitar). They pretty much just followed the playlist of their CD, Goodnight San Francisco, including playing the title track because when they were tuning up someone (moi) asked Hannah if they were going to play it and she said, We'll see. They also played Long Day from The Life You Always Wanted, and a song that was a tribute to Julie Miller (one of these days I should start taking notes.)
Originally from San Francisco (well, that's where the two met), now they live in Nashville and from all reports (from mom and dad Meyers who I talked to by the door and also the mom in line in the bathroom) they like it there. I sincerely hope Nashville doesn't ruin them. Chris was already speaking in kind of a weird hillbilly accent, which is fun and folksy and all but God please don't get caught up in all the hoopla that I suspect can come from the record industry there. My God, look what they did to Lori McKenna's album Glamorous.
Anyway, they started with Birmingham and Hannah's voice is such a surprise live. It's sweeter and softer and a bit velvety compared to the studio version. Her soft voice and easy guitar strumming is a nice counter to Chris's keyboard and raspier voice. Chris is a wildman on stage; you can just see how much he loves what he does, and how much the music means to him. A couple of the Taylors they had on stage were both gouged up at exactly the same place right where the pickguard ran out and the wood was exposed to some serious strumming.
Audrey Ryan opened for them. Ryan is an interesting performer. Hmmm...quirky? Innovative? Eclectic? That night she was playing this Jordin electric guitar, tambourine, bass drum, maracas, and oh yes, an accordion. I didn't know her music, and what she played that night was hard to place, which actually is a good thing. Start with the all-encompassing alt/indie label, but then where do you go when she records a loop with her guitar, then layers the percussion over it and sings? A bit into her act she brought up a friend (Steve?) who works in the kitchen at Passim. Um, Steve didn't add a whole lot, which was kind of funny because in a weird way he became another one of Ryan's instruments, which he probably wouldn't want to hear but it did all work together.
Monday, January 26, 2009
The Jayhawks: Angelyne
I always have to be digging around.
I've known about The Jayhawks for a while. Have downloaded some of their files. As a matter of fact, the first time I ever saw Lucinda Williams, The Jayhawk opened for her. So, yeah, I've been aware of them for awhile.
But last night I was looking through the current No Depression "bookazine" and read a review of Ready for the Flood by Mark Olson and Gary Louris, which I guess, according to Amazon.com, is due out tomorrow. Remember: You heard it first here. Action Bob Markle at the forefront of the music world.
Anyway, The Jayhawks, and all those bands that aren't around anymore like Uncle Tupelo and Whiskeytown seemed to get what Gram Parsons was trying to do with country music, that those stoned-out hippies in Laurel Canyon couldn't figure out. Country rhythms with mature, poetic lyrics and a few sophisticated key changes--not shit about my pickup truck or tractor or all those freakin' bar songs and workin' and payin' the bills.
It's just nice stuff. Like this song, Angelyne. Don't expect to get your socks blown off. Expect your foot to start tapping and the song to stay in your head for a couple of days. Isn't that really all it's supposed to do?
Here comes the weather
It's looking like another storm
If all desire
Would leave this tired boy alone
Hopes haunt me like ghosts
They point their fingers
Grass grows in the cracks
Wind makes me shiver
Angelyne, forgive me
We threw it all away
You could never stand living with a man
Who could only lead you half way to love
I tried to fake it
But you wouldn't play along
I watched you naked
Innocent and holding on
Snowflakes make your bones ache in the winter
Your face will not fade, it will just linger
Angelyne, forgive me
We threw it all away
You could never stand living with a man
Who could only lead you half way
Angelyne, forgive me
We threw it all away
I could never fit into your plans
I'm nobody's man
Don't you tell me how to live my life
Don't you tell me how to live my life
Angelyne, forgive me
We threw it all away
You could never stand living with a man
Who could only lead you half way
Angelyne, forgive me
We threw it all away
I could never fit into your plans
I'm nobody's man
I've known about The Jayhawks for a while. Have downloaded some of their files. As a matter of fact, the first time I ever saw Lucinda Williams, The Jayhawk opened for her. So, yeah, I've been aware of them for awhile.
But last night I was looking through the current No Depression "bookazine" and read a review of Ready for the Flood by Mark Olson and Gary Louris, which I guess, according to Amazon.com, is due out tomorrow. Remember: You heard it first here. Action Bob Markle at the forefront of the music world.
Anyway, The Jayhawks, and all those bands that aren't around anymore like Uncle Tupelo and Whiskeytown seemed to get what Gram Parsons was trying to do with country music, that those stoned-out hippies in Laurel Canyon couldn't figure out. Country rhythms with mature, poetic lyrics and a few sophisticated key changes--not shit about my pickup truck or tractor or all those freakin' bar songs and workin' and payin' the bills.
It's just nice stuff. Like this song, Angelyne. Don't expect to get your socks blown off. Expect your foot to start tapping and the song to stay in your head for a couple of days. Isn't that really all it's supposed to do?
Here comes the weather
It's looking like another storm
If all desire
Would leave this tired boy alone
Hopes haunt me like ghosts
They point their fingers
Grass grows in the cracks
Wind makes me shiver
Angelyne, forgive me
We threw it all away
You could never stand living with a man
Who could only lead you half way to love
I tried to fake it
But you wouldn't play along
I watched you naked
Innocent and holding on
Snowflakes make your bones ache in the winter
Your face will not fade, it will just linger
Angelyne, forgive me
We threw it all away
You could never stand living with a man
Who could only lead you half way
Angelyne, forgive me
We threw it all away
I could never fit into your plans
I'm nobody's man
Don't you tell me how to live my life
Don't you tell me how to live my life
Angelyne, forgive me
We threw it all away
You could never stand living with a man
Who could only lead you half way
Angelyne, forgive me
We threw it all away
I could never fit into your plans
I'm nobody's man
Friday, October 17, 2008
No Depression's new Web site rocks
It's out, and by all appearances the new No Depression Web site just might be on its way to being a success. About nine months ago, the founders/editorial staff at No Depression Magazine, a publication geared toward alt/indie music, realized that the decline they were seeing in advertising revenue was going to continue and the magazine was a sinking ship. So back then they made plans to retire the printed magazine and enter the digital world. That's not an easy thing to do. The print world and the digital world work under two completely different business models, and frankly, it seems that not too many understand how to make money in the digital world. I don't know, that's for sure.
But what I do know is that the new ND site gives me everything that I loved in the magazine, plus some of those extras that you can only get in the digital world.
The site is rich in its coverage of alt/indie music. Every time I picked up a copy of the magazine I found myself Googling names of bands and artists I had never heard of, and checking them out on YouTube and MySpace. And after surfing the site for a couple of days, I'm already fans of The Bittersweets and The Decemberists, two bands I wasn't familiar with.
And I'd like to tell the staff of ND right now that they can pick up phone and call their advertisers that just yesterday, after visiting that site, I logged on to Amazon.com and ordered CDs by The Bittersweets and Chris Knight, both of whom I learned about from ND, and Lucinda William's new CD, who I knew about when I discovered ND, but who had a darn good feature on her in the Jan/Feb 2007 issue. I know this because I have the cover pinned here to my bulletin board. ND sold CDs; it's just a damn shame the advertisers and labels didn't or couldn't see that. And I'm not saying it's a good thing, but the advertisers' blindness causes talented, creative, passionate people to keep pursuing their passion.
The site also has all the great content (that's digital talk for writing) that was in the magazine. The writing has always been the foundation to ND. It's intelligent writing about music and life written by writers who obviously know about both and which some people realize are as inseparable as whiskey and A minor. That's the side of life that alt/indie music captures. Just get a look at something Grant Alden wrote about Chris Knight. I defy you not to keep reading through the beginning, even though he doesn't mention Chris Knight's name after the first paragraph until about halfway through. And I defy you not to want to hear some of Knight's music after reading this piece. And that piece is also a pretty good example of maybe why it was a good idea to shelve the printed piece and bring ND into the 21st digital century. There are links and embedded mp3s and a video from YouTube--all the sights and sounds that paper just can't deliver. And in the end there are comments from readers. Somewhere on the new site a reader wrote that now we can read all the letters that were written, not just the ones that they chose to print. That give and take is so important to the today's readers, and it's great that ND recognized that.
They're still selling t-shirts and they've put together a "bookazine", which is a compilation of their writing. NoDepression.com's publisher, Kayla Fairchild, who was a co-publisher of the magazine and who headed up the digital effort, asks in her initial column for people to spread the word, do a little viral marketing.
She writes:
"There were the expected naysayers along the way who said it was virtually impossible for content providers to monetize on the web. I’m asking you to help me prove them wrong. I believe it can be possible for writers to be paid for their craft. You can help by visiting the site often, telling your friends and associates about it, becoming a member of the site, buying the bookazine directly from us, supporting our advertisers, buying music, shopping at Amazon by entering through the No Depression web site as we get a kick back from every purchase you make, whether it’s music or not. It’s going to take an army to keep this thing alive and I’m counting on you."
In essence, we're in this together, which we knew or should have known all along, whether we're talking perpetuating good music and art or riding out the economy.
Thursday, August 14, 2008
Beachcombing
Mark Knopfler--who?---the guy from Dire Straits--oh yeah! him!--I love him!...he's been hooking up with some really good singers and songwriters since his broke up his band. It was getting too big. It wasn't a musical experience anymore. How much money do you really need?
That's the thing about bands like the Stones and U2. It's like cancer. It just grows to monstrous proportions and ceases to be music or art, it's just an event.
Anyway, Knopfler's been working with some serious people, and none are more serious than Emmylou Harris. She is a national treasure. Her voice is so beautiful, and you match that up with her natural instincts of interpretation, and as they would say about Sinatra, she could sing the phone book (remember what phone books were?) and it would sound great.
Listen to this song. It's opening and the melody that follows through the song are reminiscent of Dire Straits, of course it is. Knopfler is left-handed, but plays the guitar as a righty. His strong hand is playing the chords and notes on the fret board, and it allows him to really give some vibrato. And he doesn't use a pick, or even his fingernails on his strumming and plucking hand; that's how he gets that unique sound of his. (I read it in the Rolling Stone. Yep, I'm still reading that old rag, which really isn't much more than People Magazine for rock stars now.)
And then Emmylou (can I call you by your first name?) enters the song, just like she's walking into a room, and his deep voice and her soprano just jell, and I think it's because you have two stellar musicans there who really know what they're doing. Again, Emmylou Harris's strength is how she can interpret; she just seems to know exactly what to deliver. And I've heard that she just stands her ground and does what she wants. And now she's the Queen, so producers just do what she says.
And those lyrics are so sweet; Knopfler is a fantastic storyteller. His songs have always been like short stories or plays, with beginnings and middles and climaxes and anticlimaxes. And this is filled with metaphor and images paint the picture of a life washed up on shore.
That's the thing about bands like the Stones and U2. It's like cancer. It just grows to monstrous proportions and ceases to be music or art, it's just an event.
Anyway, Knopfler's been working with some serious people, and none are more serious than Emmylou Harris. She is a national treasure. Her voice is so beautiful, and you match that up with her natural instincts of interpretation, and as they would say about Sinatra, she could sing the phone book (remember what phone books were?) and it would sound great.
Listen to this song. It's opening and the melody that follows through the song are reminiscent of Dire Straits, of course it is. Knopfler is left-handed, but plays the guitar as a righty. His strong hand is playing the chords and notes on the fret board, and it allows him to really give some vibrato. And he doesn't use a pick, or even his fingernails on his strumming and plucking hand; that's how he gets that unique sound of his. (I read it in the Rolling Stone. Yep, I'm still reading that old rag, which really isn't much more than People Magazine for rock stars now.)
And then Emmylou (can I call you by your first name?) enters the song, just like she's walking into a room, and his deep voice and her soprano just jell, and I think it's because you have two stellar musicans there who really know what they're doing. Again, Emmylou Harris's strength is how she can interpret; she just seems to know exactly what to deliver. And I've heard that she just stands her ground and does what she wants. And now she's the Queen, so producers just do what she says.
And those lyrics are so sweet; Knopfler is a fantastic storyteller. His songs have always been like short stories or plays, with beginnings and middles and climaxes and anticlimaxes. And this is filled with metaphor and images paint the picture of a life washed up on shore.
They say there’s wreckage washing up
all along the coast
No one seems to know too much
Or who got hit the most
Nothing has been spoken
There’s not a lot to see
But something has been broken
that’s how it feels to me
We had a harmony
I never meant to spoil
Now it's lying in the water
Like a slick of oil
The tide is running out to sea
Under a darkening sky
The night is falling down on me
And I‘m thinking that I
Should head on home
Been gone too long
Leave my roaming
Beachcombing
Little wild kitten out hunting
To see what he can get
You’re in a big city now
won’t stop growing yet
The sun is going down smoking
A flaming testament
Something has been broken
And it feels permanent
Little seabird flying
He knows where he wants to go
Guess i ought to pack my stuff
And do the thing I know
I turn around and head on back
Along the old sea wall
I felt something give and crack
And now I’m sorry that’s all
Head on home
Been gone too long
Leave my roaming
Beachcombing
all along the coast
No one seems to know too much
Or who got hit the most
Nothing has been spoken
There’s not a lot to see
But something has been broken
that’s how it feels to me
We had a harmony
I never meant to spoil
Now it's lying in the water
Like a slick of oil
The tide is running out to sea
Under a darkening sky
The night is falling down on me
And I‘m thinking that I
Should head on home
Been gone too long
Leave my roaming
Beachcombing
Little wild kitten out hunting
To see what he can get
You’re in a big city now
won’t stop growing yet
The sun is going down smoking
A flaming testament
Something has been broken
And it feels permanent
Little seabird flying
He knows where he wants to go
Guess i ought to pack my stuff
And do the thing I know
I turn around and head on back
Along the old sea wall
I felt something give and crack
And now I’m sorry that’s all
Head on home
Been gone too long
Leave my roaming
Beachcombing
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