Various Artists – Nobody Sings Dylan Like Dylan, Vol. 33-34

Various Artists
Nobody Sings Dylan Like Dylan – 33-34

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Nobody Sings Dylan Like Dylan Vol. 33: Progress and the Doom Machine

This one goes out in memory of David Plentus, the founder of DylanCover.com, who passed away last month. I didn’t know him, but his site is an invaluable resource and it always gave me a sense of accomplishment when one of my compilations appeared on his NSD page. I hope someone will be continuing the site as a tribute to his dedication.

A couple of notes on this volume’s selection: I know some don’t consider “Ballad of Easy Rider” and “Wagon Wheel” true Dylan songs, but they’re both damn good, and after 33 volumes I decided to take the liberty; if you’re a purist, don’t download those tracks. And I also know John Mayer is widely reviled, but I think he does a nice job with “Don’t Think Twice”; as when I included Guns ‘N Roses, I’ve come down on the side of the music and tried to ignore personalities.

As always, a big thanks to the tapers, the original uploaders, the nice folks who’ve sent me recordings, the fine artists who’ve created cover artwork, and especially the performers and most of all the composer. Due to the many different sources, I am not including lineages. I have done nothing to the original files but normalize the levels and fade in and out on each track (using Cool Edit). If you’ve got something good that deserves consideration for future volumes, PM me.

01 Ballad of Easy Rider – Bruce Springsteen (Aug 20, 1981, Los Angeles Sports Arena)
02 This Wheel’s On Fire – The Byrds (Sep 20, 1970, Pacific Memorial Stadium, Stockton, CA)
03 Positively Fourth Street – Bryan Ferry (Mar 17, 2007, St. David’s Hall, Cardiff, UK)
04 Stuck Inside of Mobile with the Memphis Blues Again – North Mississippi All-Stars (Feb 5, 2011, Criminal Records, Atlanta, Ga)
05 Walkin’ Down the Line – Eilen Jewell (Apr 29, 2010, Katalin, Uppsala, Sweden)
06 Ring Them Bells – Sara Jarosz (May 20, 2010, Higher Ground, South Burlington, VT)
07 Lay Lady Lay – Band of Heathens (Jul 27, 2009, Don Quixote’s, Felton, CA)
08 Knockin’ On Heaven’s Door – Alejandro Escovedo (Jan 28, 2011, Neighborhood Theatre, Charlotte, NC)
09 Don’t Think Twice, It’s Alright – John Mayer (Jul 31, 2010, Bristow, VA)
10 Forever Young – Sara Watkins (Jun 19, 2010, Clearwater Festival, Croton-on-Hudson, NY)
11 All Over You – Cooper McBean (January 13, 2011, The Echo, Los Angeles, CA)
12 Blowin’ in the Wind – Jonathan Richman (Feb 4, 2010, Jack Rabbits, Jacksonville, FL)
13 A Hard Rain’s Gonna Fall – Ryan Bingham (Oct 3, 2007, The King King, Hollywood, CA)
14 Every Grain of Sand – Deacon Blue (Dec 28, 1991, Glasgow Royal Concert Hall)
15 Visions of Johanna – Black Rebel Motorcycle Club (Aug 9, 2010, Ebisu LIQUIDROOM, Tokyo, Japan)
16 Dirge – Sophie Hunger and Erik Truffaz (Nov 3, 2010, Studio 15 de la RSR, Lausanne, Switzerland)
17 Going Going Gone – Mark Lanegan (Aug 2, 2002, Urbino, Italy)
18 Wagon Wheel – Mumford and Sons with Gilliam Welch and David Rawlings (Jun 12, 2010, Bonnaroo Festival, Manchester, TN)

(reviled?)r5

Nobody Sings Dylan Like Dylan, Vol. 34: So Long, Honey Babe

Why do we admire Suze Rotolo? I think it’s because she kept her secrets, even at the risk of letting herself be defined (publicly, at least) by a handful of songs written by an articulate but temporarily bitter ex-boyfriend. When she did finally break her silence, it was with a discretion and dignity rare in our modern celebrity culture. So this volume is dedicated to Suze (and does not contain a version of “Ballad in Plain D”).

01 Boots of Spanish Leather – Patti Smith (Dec 30, 2010, The Bowery Ballroom, New York, NY)
02 Mama You’ve Been on My Mind – Allan Toussaint (Nov 9, 2006, Avery Fisher Hall @ Lincoln Center, New York City)
03 Don’t Think Twice, It’s Alright – Steve Earle (Feb 27, 2011, Center for the Living Arts, Philadelphia, PA)
04 Tomorrow is a Long Time – The Gourds (Apr 29, 2009, The Ark, Ann Arbor, MI)
05 One Too Many Mornings – Rumpke Mountain Boys (Jul 17, 2010, Private Party, Athens, OH)
06 Blowin’ in the Wind – Arlo Guthrie and Donovan (Jun 20, 1981, Folkfestival auf der Donauinsel, Vienna, Austria)
07 Masters of War – Don McLean (May 25, 1975, Hard Rock Club, Manchester, England)
08 A Hard Rain’s Gonna Fall – Carrie Elkin (Nov 26, 2009, Prince Albert, Trafalgar St, Brighton)
09 Mr. Tambourine Man – Abbey Lincoln (Jul 12, 2002, Graz, Mariahilferplatz)
10 I Want You -Sophie B. Hawkins (Aug 16, 1992, La Brique, Montreal, QC)
11 All Along the Watchtower – Devon Allman’s Honeytribe (May 22, 2010, Aflac Outdoor Games, Uptown’s Riverfront AT&T Stage, Columbus, GA)
12 Ring Them Bells – Jill Sobule with Cyndi Lauper (Nov 9, 2006, Avery Fisher Hall @ Lincoln Center, New York City, NY)
13 Isis/Love Sick – Ryan Adams (Nov 9, 2006, Avery Fisher Hall @ Lincoln Center, New York City, NY)
14 Going, Going Gone – Jay Farrar (Nov 9, 2006, Avery Fisher Hall @ Lincoln Center, New York City, NY)
15 Fragment – Wesley Stace (Nov 5, 2009, Cafe Fontana, Maple Shade, New Jersey)

Links of the Day: April 26, 2023 – Wilco, Martin Scorsese, and Lucinda Williams

It has been a while since I’ve done one of these. Google changed the way they send me their alerts and it became a bit of a pain. But I’m trying to do lots of things to make this site interesting again just to see where I can take it. So hopefully I’ll do links posts more regularly.

Photo Gallery: Wilco at the Classic Center: Flagpole

Timothée Chalamet and Martin Scorsese Rode the Subway: Curbed

Lucinda Williams and her suitcase full of songs: NPR

Lucinda Williams on her soul-baring memoir: The Independent

See Faye Webster Join Wilco For Stirring ‘Jesus Etc.’ In Athens: Jambase

Lucinda Williams Bit Ryan Adams and Other Big Reveals in Her New Memoir: Rolling Stone

Whiskeytown – Forever Valentine

Whiskeytown
Forever Valentine

01 Anyone But Me (a/k/a Dial Tone)
02 Don’t Wanna Know Why
03 Easy Hearts
04 Sittin’ Around
05 Rays Of Burning Light (a/k/a Rays Of Light)
06 Ghost Without Memory
07 Runnin’ Out Of Road
08 Can’t Take A Lover (a/k/a Talkin’ In My Sleep)
09 Think About Me (a/k/a (What You) Think About Me)
10 Crazy Lonesome (a/k/a A Memory Away)
11 Caroline

Info from the Ryan Adams Archive:
Studio: Scores/Slackmates & Modern
Location: Raleigh, North Carolina
Date: December 1997
Personnel:
Ryan Adams
Caitlin Cary
Mike Daly
Ed Crawford
Skillet Gilmore
Chris Stamey
Ben Folds

NOTES:
Chris Stamey — “Skillet played drums,
I played bass. Recorded in Raleigh at Scores/Slackmates,
and at Modern, my place.” “Addendum: I forgot to add
that the piano player on the Forever Valentine
Whiskeytown sessions was Ben Folds. My memory was
jogged by his smashing show this Saturday at the Cradle.”

Skillet Gilmore — “Forever Valentine was recorded
around Xmas ’97. The band at the time (for the purposes
of recording) was Ryan, Caitlin, Mike Daly, Ed Crawford
on guitar, Chris Stamey on bass and me.” “Although the
record was made in about a week, the challenge was actually
that Ryan wanted to make a record without the label knowing
about it. And so we did.”

Concert Review: Ryan Adams, Paula Cole, Suzanne Vega, Charlie Louvin – Louisville, KY (05/19/07)

After the whole Ryan versus Gillian debacle, I had settled down into a wonderful Ryan Adams groove. I’ve been listening to his music for weeks and generally freaking out about seeing him. My mantra has been “I’m going to see Ryan Adams, I’m going to see Ryan Adams.” The world’s troubles melt away with these words.

We made a day of Louisville, eating some fine food at a Hookah bar, and digging through the record bins at Ear X-Tacy. The doors at the Brown Theatre opened at 6, so we arrived at about 4:30. We weren’t the first. Fanboys and girls abounded.

As a general rule, people tend to annoy me. As a solid, never-bending absolute truth, fanboys piss me off. I get fandom. I get solid adoration of an artist. I simply cannot understand slovenly devotion to a single musician. As we stood in the lobby waiting for the doors we had to stand the asinine fanboy conversations. One boy claimed he would not befriend anyone who was not a Ryan Adams fan. Another made the bold proclamation that the Eagles were better than the Beatles and the Stones, though all three really sucked and Ryan Adams blew them all away.

Someone, please school these boys.

In ways, the fanboys shaped my entire concert experience. We landed a seat in the third row, center, and the hardiest of fanboys were in front of us. I couldn’t help but gauge their reactions and observe their behavior.

Paula Cole started the show. I’ve never much cared for her music, but she carried herself well. The voice wavered from time to time, but the band backed her up sufficiently and it was a good time. After some new songs, and some very awkward talk where she proved herself way too aware of her time out of the spotlight, and the audience’s indifference to her come back she simply nailed “I Don’t Want to Wait.” I had never liked the song before, but it shimmered and glowed on this night.

The fanboys sang along, their faces tinged with irony and scoffing laughter. I may not like Paula, but I respect that she can write her own songs and have the balls to get up and sing them. With feeling.

Next was Charlie Louvin and he tore the roof off. He completely lives up to his legendary status. Even the fanboys were enjoying themselves, even if they were pretending that enjoyment was only in an ironic way.

Even with the irony and a few mocking laughs at his more sentimental songs, Louvin was the consummate professional. He noted that some of the young people might not understand his type of music, but if they listened closely, they just might have a good time anyway. During “Cash on the Barrelhead” he leaned forward inviting one particularly obnoxious fanboy onto the stage to sing along. It was a brilliant moment – embarrassing the fanboy without being vicious or mean, yet still staying within character.

Suzanne Vega was up next and I wondered if most of the audience even knew who she was. She was very much a total professional too. Where Paula Cole seemed too aware of the precariousness of trying to make a comeback in this business, Suzanne let it all roll off her shoulders. She seemed to be saying that she had never left the business, and while the fans may have slipped away, she was always around making her music. Her performance was as unique and quirky as ever. She did a few songs with just her and her bassist and it was beautiful. She closed out with “Luca” and “Tom’s Diner” and the house did seem to remember.

A new NY band, Vietnam hit the next spot. I won’t say they were bad, but they were not what we needed at that point. We were all exhausted and ready for nothing but Ryan Adams. They had their 70’s era Allman Brothers band schtick down pat. Except it wasn’t really schtick, but done completely seriously. It was all rock, no subtlety.

And then he came. Stools were set in a half circle towards the back of the stage. The lights were incredibly dim. Mood I guess. The Cardinals came and then Mr. Adams in a shower cap, hoodie, and dark sunglasses. The recently torn ligament and subsequent cast kept him from playing guitar, but his voice has never sounded better.

He played about half the new album, which hasn’t been released and I didn’t know, but it was all good. The record should be brilliant – kind of subdued and sad, more Heartbreaker than Cold Roses, but genius in the way only Ryan Adams can be.

Throughout everybody’s performances, there was trouble with the monitor speakers. Every performer complained about it and was followed by stagehands running around on stage for a bit. During Ryan’s first song, you could tell it wasn’t fixed for he pointed at the speaker then his finger went into the air dozens of times. By the second song, he had called a stagehand over to chew him out.

“Please don’t piss Ryan off,” Holly begged, for Ryan Adams is a bit notorious for walking off the stage early when he gets pissed. Pissed or not, the performance was magic.

The dim lights turned from blue to red and the shower cap came off. They played an Alice in Chains cover, “Down in a Hole” that turned the auditorium inside out. Just as I began to think this might be the most amazing concert experience of my life Ryan let out a “Thanks” and took off.

Twenty minutes and he’s gone.

Bastard. Son of a monkey. Words I cannot write for my mother might read.

Man, I know you have to keep up your eccentricities. I know it is part of your allure to pull this crap. But it is called being a professional. Did Charlie Louvin walk off because he couldn’t hear himself? Did Paula Cole or Suzane Vega? Man, the Vietnam guitarist just moved over to the one working monitor. We paid good money, drove long distances, and generally did what we could to see you perform. You should at least do your freaking job.

Much cursing ensued during the drive home. But then a fanboy posted videos, and I watched, I listened, I teared up just a little, and I have to say, I forgave.

“Goodnight Rose” – Forgive the lousy video quality, as I said the lighting was terribly dim. But the audio is good.

“Rip Off”

Dreamin’ Songs – “Damn, Sam (I Love A Woman That Rains)” by Ryan Adams

You really shouldn’t expect more out of me this week than Ryan Adams, Ryan Adams, Ryan Adams. My excitement, while not yet peaking, is reaching all-new heights. I’ve also been listening to him pretty much non-stop for the last week, which explains why he is serving up Dreamin’ Songs twice in a row.

There actually was a non-Ryan song in my head when I first woke up this morning, but instead of waking and writing it down, I drifted back to sleep, and when I awoke a second time this song was stuck in my head.

“Damn Sam” is off of Heartbreaker, which is sometimes my favorite Ryan Adams record (when it isn’t relinquishing its throne to Cold Roses or the unreleased Destroyer.) It is also his most, well, heartbreaking. I simply can’t listen to most of those songs without drowning in a depressed stupor. And this particular song constantly sees me in a puddle of tears.

The thing about it this morning is that I couldn’t remember the opening line. I kept singing, “As a man, I ain’t never been much for….” and I couldn’t remember the rest. I got the follow-up line, “I’m as calm as a fruit stand in New York and maybe as strange,” but that first one kept ending in question marks.

I kept adding in words that might make sense: “picking up dames?” or “lying lame?” I knew it had to rhyme somewhat with “strange,” but that doesn’t leave a lot of options. It tormented me out of bed, into the shower, and through breakfast. Finally moments ago, after finally leaving it alone for a bit, it came during laundry. “as a man, I ain’t never been much for sunny days.”

Ah, that makes tons of sense, since Ryan is kind of a dark dude, and this song is all about his manic obsession with the rain. Seriously the guy throws in a line about the rain at least once an album. He’s the John Cusack of the songwriting business.

Dreamin’ Songs – “Tennessee Sucks” – Ryan Adams

Amazingly, I have not yet mentioned the Ryan Adams/Gillian Welch decision around these parts. I shall surely do my best to discuss that very thing soon. For now, I shall only say that I’m going to see Ryan Adams in less than two weeks.

Because of this, I have been listening to my Ryan Adams records with great dedication. The queer thing is that despite my obsession with Mr. Adams, there are a few records that I have not listened to very often.

The full blame goes to my bootleg collection. I have quite a large stack of bootlegs, and I have a tendency to go for those rather, than the studio albums – with the exception of Gold, Heartbreaker, Cold Roses, Jacksonville City Lights, and occasionally Love Is Hell. That’s a big exception, I know and for the record, the records that have not received a lot of spins are – Demolition, 29, and Rock N Roll.

With the newfound studio dedication, these less-loved albums have received my full attention. I am learning to really love Demolition and 29 is growing on me, though I don’t know if I’ll ever much care for Rock N Roll.

All of this brings me to “Tennessee Sucks,” which is off of Demolition. The album as a whole has continued to grow on me with repeated listens. Where, at first, I found it too soft and depressing, I have learned to appreciate its simple melodies and poetic lyricism. This song is a good example of that with its pretty piano emphasis and it’s the refrain of “Tennessee sucks in the summer/what have you got that can put us under?” Which gets bonus points for mentioning one of my favorite states, and nails a certain teenage feeling I often receive.

Random Shuffle (09/18/06) – Van Morrison, Jerry Garcia, Ryan Adams, Seu Jorge, & Led Zeppelin

“Magic Time” – Van Morrison
From Magic Time

I can’t really remember when I first discovered Van Morrison him. I do remember having his first greatest hits album for ages and playing it like mad in college. The songs just shimmered and glowed like fresh magic. Eventually, I bought the second greatest hits album and was sunk because it stunk. Most of the songs are from a religious period if he had a religious period like Dylan. I don’t know, I’m not that steeped in Morrison mythology, but a lot of the songs seemed deeply religious, and boring.

In time I’ve come to love more and more of his songs. Is there a greater few minutes of music than “Tupelo Honey?”

I first heard his newest release, Magic Time on a bust tour of Southern Ireland. The bus driver was playing everything Irish including The Man, U2, and lots of traditional Celtic stuff. He played this album and at the time it sounded OK. It was a little slow and not filled with the type of songs you want to hear on a multi-day bus trip.

A friend bought the disk and I borrowed it and have since found it to be a late-era Morrison treasure. The songs are mostly soft, but they have that impassioned Van Morrison delivery, and the lyrics are sweet and kind and perfect for a romantic evening.

This song seems to hearken back to a time when Van was young and full of that magic vigor. It is deeply nostalgic and unapologetic about it. It has a nice little sweeping shuffle and feels like a sunny day picnic out in the countryside – neath a shade tree to keep the heat of the sun at bay.

In other words, just about perfect.

“Knockin’ on Heaven’s Door” – Jerry Garcia
From Run for the Roses

Jerry Garcia’s studio albums are about like the Grateful Dead in the studio – mostly awful. That’s not actually all that fair since the Dead released several really great albums, and Jerry did a few good ones solo.

The problem, it seems to me, is that the Dead don’t know how to produce their own records. Live, in the moment, they can perform magic, but given time in the studio to record, listen, and record some more they underestimate their abilities and screw it up.

Garcia puts a little reggae influence into his version of this Dylan classic, but it doesn’t really help. Clocking in at over seven minutes, it just goes on and on without ever hitting a level that justifies the length. Oh, there is some very decent melodic Jerry guitar work in the middle, but it never manages to put me in the kind of zone I often reach during a live performance.

“Firecracker” – Ryan Adams
From 02/09/02

I believe this is Mr. Adams’ third time starring in a Random Shuffle, which may be a record, and certainly proves I have quite a bit of his music on my little computer. A very large portion of my RA collection (at least on my computer) is live. A while back I downloaded a big stinking chunk of a compilation and have yet to actually burn them to disk.

What I have heard of it, it is a bit of a mixed bag. Previously I’ve mentioned how I don’t like Adams’ tendency to write super slow, unmelodic tunes and that goes doubly so for his live material. But even the faster songs performed live, at least in this case, aren’t so great. I very much enjoy his more recent live outings with the Cardinals, but from what I’ve heard of his stuff a few years back, it is not so great. The band just isn’t as on as I like.

Take this instance, for example. “Firecracker” is a great little song. It is a nearly perfectly crafted pop-rock ditty. Live, the organ decides to go all speed metal on me and destroys the melody, Adams tries to keep up and does his best at being the big rock god lead man, but it doesn’t fit. What’s left is the remnants of a good song with a lot of energy, but without the tune that made the song great in the first place. (The video I’ve embedded above is not the version I wrote about, but I couldn’t find it anywhere).

“Rebel Rebel” – Seu Jorge
From The Life Aquatic Studio Sessions

Personally, I felt The Life Aquatic was Wes Anderson’s least interesting film. The action and the characters never quite gelled into a cohesive whole. What helped make it a good film, though, was Seu Jorges’ Spanish takes on David Bowie songs. I don’t think this particular song from the Aquatic Sessions is a David Bowie song, but what do I know I can only name a handful of Bowie songs. So this may or may not be a Bowie cover, but it most definitely is a nice, lulling little acoustic ballad. (Editor’s Note: I have no idea why I didn’t think this song was originally written by David Bowie, obviously it was.)

While visiting my folks in Oklahoma this summer a commercial came on the TV and in the background was Seu Jorge’s version of “What a Wonderful World” which prompted my brother-in-law to scoff that Jorge was in way too many commercials. At the time I wondered what he meant, as I had only seen the one commercial.

In the weeks that followed I became more familiar with Jorge’s work and have noticed that an awful lot of commercials have used his songs. It is easy to see why. Many of his songs are interesting, unique, and different yet almost instantly accessible. They are on the opposite side of the spectrum from the vapid jingles that most commercials (and pop radio) play every day. Here’s to more commercials playing Seu Jorge and his ilk.

“Battle of Evermore” – Led Zeppelin
From Led Zeppelin IV

It may prove what an odd musical upbringing I had, but I first knew and loved this song through Heart and the version they recorded as The Love Mongers on the soundtrack to the movie Singles.

I still love that version.

I’m sure I was familiar with Led Zeppelin at that time. They were the titan of hard rock, and I certainly enjoyed heavy doses of hard rock. I was more in love with current bands like Pearl Jam, Soundgarden, and Nirvana, all of which, of course, have heavy influences from Led Zeppelin. But I didn’t own a Zeppelin album then.

Sometime later I rectified this and bought up most of the records. Led Zeppelin is a classic, of course, though I always preferred Led Zeppelin II.

Zeppelin always reminds me of an article I once read about Kurt Cobain, who later in life, was embarrassed that he had Led Zepplin posters on his wall when he was a young boy. They were too corporate, or not punk enough, and that pointed to being a sell-out.

An easy enough opinion for a young man to have. I certainly went through periods of being embarrassed by the music I once loved. But these days, who has the time? I admit when I was a young boy I had posters of New Kids on the Block, and dug the boy band ditties. Although, I must secretly admit it had more to do with trying to be liked by my cousin and fitting in, than any true admiration of NKOBT.

Not long later, I ripped those same posters down and wondered how I could ever have liked those boys. But now it is a fun little piece of nostalgia, and I can actually go back and admire the hooks and harmonies. It is impossible to not smile when “Hanging Tough” hits the radio on the retro hour. I still do the hand motions too.

I’m no longer a Zeppelin fan. I think I outgrew the crunching guitars and the vulgar, science-fiction lyrics. But I have no shame in spending many hours watching The Song Remains the Same and being mesmerized by Jimmy Page playing the guitar like a violin.

Random Shuffle – (04/24/06)

ryan adams gold

“When Stars Go Blue” – Ryan Adams
from 05/07/05

I mentioned last week that Ryan Adams writes a lot of slow tuneless sad songs, this one is actually one of his sad songs that I really like. The reason why? He actually writes a melody. It’s a lilting little melody that floats like a paper boat on a lake. It’s a beautiful song, really. This version is with the Cardinals, his most recent touring band. This band rather rocks and so even this ballad has some loudish guitar noise with it. I like the earlier version with the acoustic guitars and the sadness.

But this is a nice version and the electric guitar solo here is quite fine. The Cardinals remind me in some ways of the Grateful Dead, and they are obviously fans since on this last tour they covered several Dead tunes. They also keep Adams expanding on his songs improvisationally, giving this tune a real jam. Something it has never had.

keller williams grass

“Hole in the Backyard” – Keller Williams
from Grass

Keller Williams is generally a one-man jam band. He tours as a solo artist but creates a thick, layered song with just him, a guitar, and a looping machine. With the machine, he can record a quick guitar lick or vocal sound and then continually play it back over and over, while he creates new music on top of it. Add more layers and you get a sound that is unique in the business.

This is one of the better songs off of his latest bluegrass disk, Grass. It’s full of clever, pun-filled lyrics about what they’re going to do with a giant hole in the backyard. The music is foot-tapping, shake-your-hips marvelous. It’s the kind of song that means absolutely nothing but is still a joy to crank up and boogie to.

tom waits rain dogs

“Midtown” – Tom Waits
from Raindogs

This is Tom Waits that I can dig. It’s an instrumental electric jazz number that sounds like it could be an outtake off of one of Miles Davis’ later albums, or part of a movie score circa 1970 detective stories.

It is only about a minute long, so I’m sure it’s part of a larger whole that I have yet to really listen to.

the libertines

“The Man Who Would Be King” – The Libertines
from The Libertines

As I start to listen to new music again (as opposed to my countless bootlegs) I find my musical tastes migrate across the sea to the shores of the United Kingdom. This is either because we’re experiencing another British invasion or because several of my writing buddies are from the UK.

These days Pete Doherty gets more press for his narcotics arrests than for fronting Babyshambles or previously, the Libertines which is a shame because he’s responsible for some of the best indie rock to hit the airwaves in some time.

This is a pretty straight-out rock number that takes some interesting changes in the bridge, and some impressive “la la la’s” in the chorus. And who doesn’t like la las?

bright eyes i'm wide awake its morning

“Train Under Water” – Bright Eyes
from I’m Wide Awake, It’s Morning

I swear I’ve written about Bright Eyes in Random Shuffle before, but looking through the archives I see nothing. Age is creeping in faster than I thought.

Bright Eyes is basically Ohioian Conor Oberst’s band with various side players thrown in when he wants. He writes painfully beautiful lyrics with a generally acoustic, folk-laden musical background (although Digital Ash in a Digital Urn is his attempt at Radiohead-inspired electronica).

Bright Eyes are one of my new favorite bands out there. Their lyrics are so often incredibly raw and honest to make one embarrassed while still being inspired. “Train Under Water” is a nice acoustic number with Conner whisper whining right along with the strums of the guitar. But there is enough of a melody and changes in the chorus to make it head-bobbingly terrific.

Random Shuffle (04/17/06): The White Stripes, Ryan Adams, John Prine, Pearl Jam, & The Grateful Dead

“I’m Lonely (But I Aint That Lonely Yet) – The White Stripes
from Get Behind Me Satan

There was a period of about 3 years where my live music lust pretty much blocked everything else out. I had no interest in new music. The stuff I periodically heard on the radio was trash. Boy bands and Britney Spears, my life can totally live without that.

The thing was, live music moved me in ways that the typical studio album didn’t. Plus it was a lot cheaper to buy a blank CDR at about ten cents a pop than spend $18 for a studio album I wasn’t even sure was any good.

Slowly, I began coming out of my hibernation and came around to the idea that there was some good music out there that wasn’t live, that was produced in a studio, and that was worth my $18.

It is during this reemergence that my sister’s husband, Brian asked me if I had heard the new White Stripes album. I replied I hadn’t and he said I should check it out, that I would like it. I’m always a little annoyed when people tell me I’ll like something – whether it’s a song, or a movie or a book – most people have no idea what I really like, and to presume I’ll like something based on whatever is annoying. But Brian is usually pretty spot on with his recommendations (well except for talking me into seeing Shallow Hal, for which he will never be forgiven).

So, I got a copy of Get Behind Me Satan and freaking loved it. I had been hearing about the White Stripes for a while, about how they were the saviors of garage rock, but had pretty much ignored them. The album was so much more than garage rock, or punk, or just loud guitars. These were well-thought-out tunes, with insight into melody and song craft. The band could use a little filling out from their trick 2-person lineup. The songs need little more than guitar/drum, piano/drum, and solo piano. Would it kill Jack White to hire a bass player, and maybe a rhythm guitarist?

“I’m Lonely (But I Ain’t That Lonely Yet) is a nice little piano ballad. It is a far cry from the pumped-up boom of “Seven Nation Army.” It’s also one of my least favorites from the album. There just isn’t enough to it. It’s got sad little lyrics, but it’s just pling pling on the piano and mopey singing from Mr. White. This seems to be a trend in ballads these days – write moody, poetic lyrics and a bland, unmelodic bit of music to go with it.

ryan adams rock n roll “So Alive” – Ryan Adams
from Rock N Roll

Ryan Adams came to me in this same musical awakening period as the White Stripes. I forget when I actually started to dig him. I absolutely loved “New York, New York” which got all sorts of airplay just after 9/11 what with the timely lyrics and the video on the bridge overlooking the Manhattan skyline.

But after that song, I looked no further into the Ryan Adams playlist. All the cool people seemed to dig him. I think I couldn’t get past that sloppy hipster hair. But slowly, somewhere I heard another song and another and became a fan.

Adams is the king of the no melody, just pluck on your instrument while singing a super sad lyrics ballad. He drives me crazy with that stuff, especially since he can write a darn fine piece of pop music.

“So Alive” is a rather upbeat, lively piece of tuneage. It’s actually a bit U2ish in its grandiosity, albeit with a Morrissey kind of vocal thing going. The results are interesting. It’s a good song, something that could easily blare out of my car speakers on a warm sunny day. It’s not really what I expect, or want from Ryan Adams though. He has the ability to write a real hook. His best songs keep me singing them for hours after I’ve heard them, this one leaves my head soon after the last note is played.

john prine souvenirs “Hello in There” John Prine
from Souvenirs

God bless John Prine. He’s been writing songs like a mystic sage living on a mountaintop since he was but a young man. His lyrics are some of the most beautiful, moving words sung this side of Bob Dylan. He likes to say that he is an old rock and roller who has made a living writing folk songs. We are better people because of it.

Souvenirs is Prine covering himself. It is a collection of songs he wrote some 20 years before, reworked for a voice that is much more mature, and a man who has lived enough life to live in lyrics written by a man too young to know better.

“Hello In There” is a song written for old people. It’s a sad, beautiful thing that makes you want to call your grandmother after a listen. I have to admit, this new version nails the song in ways the original just couldn’t. Prine’s voice, while never smooth and pretty, has taken a rougher edge, with a maturity that fits the loneliness of old age perfectly.

pearl jam riot act “I Am Mine” – Pearl Jam
from Riot Act

Speaking of Brian turning me onto music, he’s one of the last few die-hard Pearl Jam fans out there. Like a million other teenagers I fell in love with the band with their first release, Ten. The music was straight out of the 70’s hard rock box, with lyrics that spoke of alienation and hard times. It was perfect for a long-haired, mixed-up 17-year-old.

I listened to their second album Vs for several weeks straight, without playing any other album. This was my band.

Then I went to college, met a girl who was too punk for grunge, and Pearl Jam left me behind. Their very different, and ungrunge-like third album Vitalogy didn’t help much. Periodically I heard a new single from the band and had a brief thought that I should get back into them, but never got around to it.

As stated, Brian is one of the last of the die-hards. The boy loves him some Pearl Jam. His enthusiasm for the band always gets me and always makes me want to listen to the band fresh again. So, I buy an album or download a single and dig them for a little while.

“I Am Mine” is fairly typical of what I’ve heard from new Pearl Jam. The hard rock edge is lessened by a better melody. Eddie Vedder’s deep baritone sweeps the song along. The lyrics are mysterious, sounding vaguely political and meaningful yet difficult to decipher and make sense of, yet remaining thematic and full of sing-along ability.

grateful dead dicks picks 4

“Not Fade Away” – Grateful Dead
from Dicks Picks 4

My first time seeing any member of the Grateful Dead was at a Furthur Festival in Atlanta. This was a couple of years after Jerry died, and the surviving members were just starting to play music again. Bob Weir played a set with his band, Ratdog. Mickey Hart played all kinds of worldly drums with his ensemble, Bruce Hornsby had his band, and a few other Dead-like bands were invited along as well.

At the close of the night, all the bands joined together for a jam session. They closed with this Buddy Holly classic and Dead staple. As the song ended the musicians left the stage one by one, while those still onstage kept up the beat. Lastly, there were the drummers, banging out the bop, bop bop-bop backbeat. As they, too, left the stage the entire audience kept rhythm with hand claps and their own voices. I stood there in the hot Georgia night smiling in the knowing feeling that I’d just had the time of my life. Even if the band had played that song a million times, and a thousand other audiences had sung along in the exact same way, I felt special. I felt a part of something. It was magic.

The Grateful Dead did play this song a million times. It was a concert staple from their early years. This version, taken from a show in February 1970 exemplifies the Dead’s ability to take a very simple pop song and elevate it to something far more. It is some 13 minutes in length and never has a misstep or a dull moment. The Dead never takes it to the cosmic heights of say “Dark Star” but it is transcendent just the same.

Random Shuffle – March 7, 2006

the rolling stones now

The Rolling Stones
Everybody Needs Somebody to Love
From the album The Rolling Stones, Now!

I recently got my hands on a number of earlier classic Stones albums. In fact, I’ve only recently gotten into the Stones again. I’m continually amazed at their vast amount of really great music. It’s easy to listen to their “hits” collection played over and over on classic rock radio and overlook what amounts to one of the greatest masses of tunes in rock-n-roll.

This song is from their 1965 album of covers, which makes it their third album released in the US. You can still hear the early 1950s rock-n-roll influence and even some doo-wop slipping in. It’s a catchy little number, but something of a novelty throw-away in the pantheon of Rolling Stones music.

bob dylan biograph

Bob Dylan
I Don’t Believe You (She Acts Like We Never Have Met)
From the album Biograph

When I was first becoming a Dylan fan my mother bought me this boxed set. I didn’t know what to make of it at the time. It was filled with the hits and the obscure and live versions of songs like this. This isn’t a favorite song for me, but as with many Dylan songs, even when they’re not great, their pretty stinking good.

Ryan Adams
Elizabeth You Were Born To Play That Part
From a live recording in Montreal, (05/01/05)

This comes from a five-disk compilation of live shows from 2005 called Bedhead which I assume comes from Ryan Adams generally disheveled coif. This is a quiet, beautiful piano ballad from the third of Ryan’s releases in 2005, 29. Like many of Ryan’s ballads this song is so quiet, it’s hard to actually hear what’s going on. But if you can manage to remove all distractions and really get into it, there is a song of heartbreaking proportions.

dicks picks 5

Grateful Dead – Drums
From the album Dick’s Picks, Vol. 5 (12-26-79)

The Dead always dug their drummers. So much so that they hired two of them. By 1979 Mickey Hart and Bill Kreutzmann had created a monolithic beast of every sort of drum and percussion instrument. At 4 minutes 22 seconds this is a relatively short (and tame) version of “Drums” but still manages to create an interesting snake-chasing menagerie of rhythm.