John Moreland

John Moreland, who released one of last year’s most outstanding albums in Big Bad Luv, will be playing a sold-out show at the Camel here in town on Sunday. It promises to be an exceptional one — I’d call it a must-see for anyone who values the craft of songwriting. Moreland’s songs are as affecting as you’ll find, and they’re awash in the sacred alchemy that turns hurt into healing via language and melody and honesty. Many writers set out to perform that same magic, but his gift is a rarefied one, up there with the greats, in my opinion.

Speaking of gifts, I was given a tremendous one in having the opportunity to interview him for a River City Magazine article, which recently went up online. We talked about connecting with audiences, about the role religion has played in his life, about touring in a hardcore band in high school… he was generous and candid and I’m truly grateful for that conversation.

Here’s a link to the article, and here’s a link to more info about Sunday’s show at the Camel. Saw Black opens. Can’t wait.

John Moreland — “It Don’t Suit Me (Like Before)” [Spotify/iTunes]

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Son Lux

I wrote most of this post about Son Lux drummer Ian Chang’s 2017 solo EP while sitting in a dentist’s office last summer, waiting for the local anesthesia to kick in before getting a filling put in. Here I am, sitting in the same dentist’s office — might even be the same chair — about to get another filling, starting a post about one of the tunes Son Lux has made available ahead of the February 9th release of their new Brighter Wounds album.

Coincidence?

Yes, aside from the fact that I need to be better about flossing.

“Slowly” has quickly (sorry, couldn’t help myself) jumped way up my list of favorite Son Lux tunes. I feels like a bit of a departure — narrower in scope, maybe, and more personal, but no less ambitious. In fact, this is one of the most interesting examples of deconstruction I’ve heard in a long time. “Slowly” strips the classic R&B form to its basic elements, something the band manages to do with great precision thanks to Chang’s phenomenal internal clock.

Take a listen below. And don’t forget to floss before you go to bed tonight.

Son Lux — “Slowly” [Spotify/iTunes]

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Trio Da Kali and Kronos Quartet

This came in the mail yesterday — a late Christmas present from my mom, who loves to surprise me with music that’s obscure or experimental or otherwise off my radar. She’s a devoted listener of Paul Shugrue’s Out of the Box show on WHRV, and she has such a great ear, especially when it comes to atypical combinations of sounds, which is what you’ll find on Ladilikan, the collaborative album released last year by Malian griot ensemble Trio Da Kali and the long-running San Francisco-based Kronos Quartet.

While the result certainly feels novel, this isn’t a case of worlds colliding. The common ground here seems harmonious and comfortable — comforting, even. They included a cover of a gospel tune called “God Shall Wipe All Tears Away,” and it reminds me a little of the uber-soothing rendition of Stephen Foster’s “Slumber My Darling” sung by Alison Krauss on Heartland: An Appalachian Anthology. According to the extensive liner notes in the vinyl edition of Ladilikan, Kronos’ musical director fell for the song after hearing Mahalia Jackson’s version, and Trio Da Kali vocalist Hawa ‘Kassé Mady’ Diabate — daughter of Malian singing legend Kassé Mady Diabate — renders the song beautifully.

Trio Da Kali and Kronos Quartet — “God Shall Wipe All Tears Away” [Spotify/iTunes]

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2017 in Review: 25 Favorites

Last list, I promise. I limited this post to 25 albums, which is totally arbitrary, but I had to wave the white flag at some point. I always start writing these year-in-review posts with high hopes of streamlining the process in an effort to siphon as little time as possible from holiday celebrating with family, but something in me can’t help getting absorbed then overwhelmed. It’s a moth-to-the-flame thing. Odds are good it has something to do with mortality/the passage of time/wanting to hold onto and contain experiences so they — and by extension, I — don’t quietly disappear into a scary, nebulous past… but you didn’t come here for existential hand-wringing, did you? Oh, you did? Great! Let’s be sure to catch up after about physical media as an ineffectual bulwark against death!

A few notes before we get started:

  • I made some additions to the previous lists — Steve Gunn’s tour-only Dusted album was added to the list of live jams, and Elkhorn’s Black River album was added to the Americana list. I snagged both at Steady Sounds with Christmas money and it’s still 2017, so…
  • This is just the non-live, non-reissue, non-Americana, non-RVA top 25. Doing a ranked top 25 this year would have been really tough. I held on especially tightly to the music I loved this year. Maybe because I needed the distraction. Maybe because new music was just really good this year. It’s probably a little of column A, a little of column B.
  • Like the other lists, this one is ordered alphabetically.
  • I kinda regret not doing a list of EPs. Ian Chang’s Spiritual Leader EP was awesome, as was Delicate Steve’s Cowboy Stories. There’s also Kamasi Washington’s Harmony of Difference — I’m still getting to know that one, but I’m fairly certain it’ll become a favorite, based on what I heard at his show at the National earlier this month.

Enough preambling. Here are the best of the rest:

Ryan Adams — Prisoner

I didn’t end up connecting with the self-titled album that came before this one, in part because of the sound palette he was working with — more focused on 1980’s guitar sounds than is usually my cup of tea. Prisoner draws from the same well, but he seems more present in this one. And “Do You Still Love Me?” is a truly dynamite opening track. I was hoping he’d open his March show at The National with it, and he delivered. Love when bands do that.

Ryan Adams — “Do You Still Love Me?” [Spotify/iTunes]

(Sandy) Alex G — Rocket

I went a little nuts over this one. Step 1 was hearing the album and digging it. Step 2 was finding out that he played on Frank Ocean’s Blonde album. Step 3 was feeling crushed when I saw that a first pressing of the album had sold out via his Bandcamp page. Steps 4-18 involved various internal arguments about whether to order the first pressing from an online reseller — something I hate doing. I eventually caved. Not sorry one bit. It’s about as varied an album as I can remember spending time with this year — so many different flashes of brilliance.

(Sandy) Alex G — “Powerful Man” [Spotify/iTunes]

Dan Auerbach — Waiting on a Song

Did you know that John Prine has a writing credit on the title track? Or that Prine is pictured on the back cover? These are things I didn’t learn until I snagged a vinyl copy of Waiting on a Song the night Auerbach opened for Prine at The Altria Theater here in Richmond. What a show that was. That’s when this album went from something I enjoyed to something I really loved.

Dan Auerbach — “Waiting On A Song” [Spotify/iTunes]

Bedouine — Bedouine

There’s a quiet strength that runs through this whole album. It feels elemental. Inextricable. The Spacebomb flourishes are welcome and wonderful, but that strength never strays from center stage, making for an exceptionally compelling listen.

Bedouine — “One Of These Days” [Spotify/iTunes]

Father John Misty — Pure Comedy

I believe Pure Comedy was recorded before the last presidential election, and politics aren’t the focal point here, but I’ve found it to be of great comfort these days. Sometimes you need someone to point out life’s absurdities so you can maintain a little distance. As lyrically dense as these songs are, the net effect — for me at least — is like taking a breath of fresh air, or like hitting a reset button.

Father John Misty — “Things It Would Have Been Helpful To Know Before The Revolution” [Spotify/iTunes]

Fleet Foxes — Crack-Up

Speaking of dense… I’m not sure I’ve really cracked the surface of Crack-Up. Listening to the episode of Song Exploder about “Mearcstapa” was startling, in that I didn’t realize how much about the album’s sound was flying under my radar. That said, it’s absolutely gorgeous, and I’m wildly curious as to what this album will mean to me in five or 10 years.

Fleet Foxes — “Mearcstapa” [Spotify/iTunes]

Godspeed You! Black Emperor — Luciferian Towers

Part of an unholy trinity of excellent albums I’ve been playing loudly when I’m working from home in an empty house. Lots of tension and anger here, but so much light as well. The climaxes of these tunes can feel joyous — the melody at the end of “Undoing a Luciferian Towers” sounds like it could have been lifted from a Christmas carol written a hundred years ago.

Godspeed You! Black Emperor — “Undoing A Luciferian Towers” [Spotify/iTunes]

King Gizzard & the Lizard Wizard — Murder of the Universe

Another member of the unholy trinity. It occurred to me recently that King Gizzard & the Lizard Wizard could be the Russell Westbrook of the musical world. Both band and baller set ridiculously ambitious goals for themselves (five albums in a calendar year for KG&tLZ, a season-long triple-double for RW) and it looks like both will be successful. Just amazing. Of the albums they put out in 2017, Murder of the Universe was my favorite by far. It’s pure fun — fast paced and delightfully creepy. On vomit splatter colored vinyl, no less.

King Gizzard & the Lizard Wizard — “Altered Beast I” [Spotify/iTunes]

Pokey LaFarge — Manic Revelations

Pokey’s sound has grown bigger and bolder, as has the St. Louisan’s writing voice. “Riot In The Streets” speaks to the Ferguson, Missouri protests, concluding:

Our past won’t go away
It haunts us to present day
There’s so much left to learn
As the bullets fly and the buildings burn

Pokey LaFarge — “Riot In The Streets” [Spotify/iTunes]

Kendrick Lamar — DAMN.

I decided not to rank this year’s list, but this probably would have been #1. Lamar is this generation’s lyricist of record, in my opinion. To Pimp a Butterfly may have been more musically immersive, but DAMN. is just as vital to understanding our country and its culture.

Kendrick Lamar — “LUST.” [Spotify/iTunes]

Landlady — The World Is a Loud Place

A few words from my February post about the album:

I had a chance to see and hear a few of these new tunes when the band came to Hardywood in August [2016] — “Driving In California” for sure, and I think “Nina” and “Electric Abdomen” made appearances as well. It’s a fantastic album, every bit as imaginative, tightly executed, and soul replenishing as Upright Behavior. In fact, Landlady has become one of the bands –maybe you have a similar list — whose shows are more like exercises in spiritual fulfillment than just a pairing of people playing music and people watching those people play music.

Landlady — “Nina” [Spotify/iTunes]

Aimee Mann — Mental Illness

A very, very good album that was there for me in a difficult time. Here’s what I said in an April post after typing out the lyrics to the chorus:

What a thing to have sung to you while standing in the backyard of your new home on a windy night, watching clouds zoom past the moon. That place she’s describing — the pocket of time before life grabs hold of the course you’ve plotted and adds twists and turns to it — that’s exactly where my family is right now.

Aimee Mann — “Patient Zero” [Spotify/iTunes]

Mdou Moctar — Sousoume Tamachek

From the post I wrote after seeing Moctar perform in October as part of a screening of his Purple Rain remake, Akounak Tedalat Taha Tazoughai:

I also walked away with a vinyl copy of Moctar’s newest LP, Sousoume Tamachek, signed by the three-man band I’d just seen in-person and onscreen. I’ve been spinning it nonstop — it paints a really varied and intimate picture of Moctar’s approach, with a nice mix of acoustic and electric guitar.

I’ve been seeing Sousoume Tamachek in other year-end lists, which makes me happy. Especially after hearing during the screening’s Q&A how tenuous the initial connection between Moctar and Sahel Sounds owner Christopher Kirkley was. A couple of missed phone calls and this album might not have been in my life.

Mdou Moctar — “Sousoume Tamachek” [Bandcamp/Spotify]

Mount Eerie — A Crow Looked at Me

I listened all the way through once, cried at my desk at work, and decided I needed some time before I listened again. I haven’t gone back yet, though I did almost buy a used copy at Reckless Records in Chicago while we were there on a family trip in November. It’s such a powerful album, and I could imagine it being there for me when I need it, but I never want to need it, and just thinking about needing it is terrifying. I have seen people talk about how listening to A Crow Looked at Me has actually been a life-affirming experience, and I get that, since it made me want to reach out to the people I love and let them know how much they mean to me. Still… it’s a little like looking directly into the Sun, emotionally speaking.

Mount Eerie — “Ravens” [Spotify/iTunes]

Mutoid Man — War Moans

This completes the unholy trinity! Come for the masterful riffing, stay for the lyrics about impregnating Satan’s daughter!

Mutoid Man — “Kiss Of Death” [Spotify/iTunes]

The National — Sleep Well Beast

This is the first National album that has grabbed me. Two contributing factors: 1. Reading this Amanda Petrusich piece about it, and 2. Listening for the first time when I was very sad for reasons I’m not sure I want to share here. What I will say is that I found exactly the right kind of musical sadness to soundtrack a moment of real life sadness, and that sense of harmony helped me find peace where I probably wouldn’t have otherwise.

Sleep Well Beast — “The Day I Die” [Spotify/iTunes]

Orchestra Baobab — Tribute to Ndiouga Dieng

One of my favorite assignments this year was writing about an earlier Orchestra Baobab album for Off Your Radar. I hadn’t spent a ton of time considering why that album — Specialist in All Styles — had wormed its way so deeply into my consciousness, and I came out the other side loving it even more. I’m enjoying this one a great deal, as well. Here’s what I said about it in that Off Your Radar piece:

[Original band member Ndiouga Dieng’s] death prompted the band to reunite and release a new album this year called Tribute To Ndiouga Dieng, which I can’t recommend highly enough. Gone is Barthelemy Attisso’s virtuosic guitar — he’s back in Togo tending to his day job as a lawyer — and in its place you’ll find oodles of kora noodling. While I initially missed that brilliant, nimble guitar work, I’ve come to appreciate deeply how different this new release is. Another masterful move from a band whose musical chessboard spans the globe.

Orchestra Baobab — “Mariama” [Spotify/iTunes]

Rostam — Half Light

I feel like this was one of the year’s most misunderstood albums. While it was reviewed reasonably well, I feel like the reviews I saw missed something crucial about how bold the album is in making his voice the center of attention and using it as a muse for experimentation. This was his big moment to step into the spotlight, and he did so in a way that strikes me as exceptionally brave. It reminds me of a one-word answer he gave in an interview earlier this year when asked what he hopes people will remember him for:

Fearlessness.

Rostam — “Gwan” [Spotify/iTunes]

Skyway Man — Seen Comin’ from a Mighty Eye

From my May post about the album:

Seen Comin’ from a Mighty Eye is tailor-made for someone embroiled in exactly [my] obsessions, with the spacey aspects of Cosmic American Music, the voluminousness and spirituality of gospel, Tyler’s exploratory spirit, and references to early 1980’s production that remove songs from the present moment, like they’re wandering untethered by time. It’s all here, along with the signature Spacebomb sounds that consistently fill my heart with joy.

Skyway Man — “Wires (Donny Angel and the Opening Wide)” [Spotify/iTunes]

Devon Sproule — The Gold String

Another artist I nominated for Off Your Radar consideration. Here’s what I said about The Gold String in May:

I learned just this week that Sproule put out a new album earlier this year called The Gold String, and it’s lovely in all the ways I Love You, Go Easy is, especially when it comes to the way the lyrics flow. In fact, she touches on a similar idea in the title track when she imagines an endless strand that connects everyone and everything. Her description of it is nothing short of elegant, in large part because form and theme are one; she describes this inspiring connectedness using verses that lead into one another and this amazing rolling rhyme scheme that weaves together phrases in ear-pleasing clusters. Her words become the string she’s singing about. It’s really incredible.

Devon Sproule — “The Gold String” [Spotify/iTunes]

St. Vincent — MASSEDUCTION

So my daughter, who is three and half and loves the color pink, keeps choosing this when I tell her to go pick a record from the shelf that has 2017 albums on it. Let’s just say the cover art is quite the conversation starter. Also, “New York” is one of the best songs of the year. Hands down.

St. Vincent — “New York” [Spotify/iTunes]

Moses Sumney — Aromanticism

The only album I could envision ranking above DAMN. It’s a towering achievement, both in terms of vocal performance and emotional articulation. While I didn’t manage to win a Vinyl Me, Please pressing at the Triple Crossing listening party in October, I managed to find a used VMP copy on the trip to Reckless Records I mentioned earlier. I know I put way too much stock in getting this or that pressing and having a physical copy of something that I can listen to online, but I love that Vinyl Me, Please did a pressing. It gave me an opportunity to sit around a table with new and old Sumney fans talking about all the ways in which Aromanticism is incredible.

Moses Sumney — “Lonely World” [Spotify/iTunes]

Chris Thile & Brad Mehldau — Chris Thile & Brad Mehldau

From a Friday News and Notes post earlier this year:

Quick story — when Bob Dylan’s Tempest album was announced and I saw “Scarlet Town” on the track list, I desperately hoped it would be a cover of the Gillian Welch song from The Harrow & The Harvest. It wasn’t. So when I saw that a “Scarlet Town” was on this Thile/Mehldau album, I braced for disappointment…

No disappointment here. Just an hour and three minutes of next-level interpretation and collaboration. And, yes, it’s the “Scarlet Town” I was hoping for.

Chris Thile & Brad Mehldau — “Scarlet Town” [Spotify/iTunes]

Tinariwen — Elwan

This is the year I truly fell in love with Tuareg desert blues. So glad BK Music had a copy of this. I was wearing out Sousoume Tamachek.

Tinariwen — “Sastanàqqàm” [Spotify/iTunes]

The xx — I See You

I liked the first two xx albums, loved Jamie xx’s solo album, and found this to be a great middle ground. It’s funny this comes last alphabetically, because it was the first top-tier album released this year, and it makes me think about how fucking long 2017 has felt. Good lord. Hey 2018, maybe don’t be like that?

The xx — “Say Something Loving” [Spotify/iTunes]

More 2017 in Review:

2017 in Review: Live Albums
2017 in Review: Blasts from the Past
2017 in Review: Americana
2017 in Review: RVA

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2017 in Review: RVA

2017 was fucked up in a truly barf-inducing cornucopia of ways, but I can point to one way in which it was unreasonably generous — how many of this city’s talented and creative musicians I had the opportunity to meet and interview. It’s an honor to experience so directly the warmth and kindness of this city’s creators. These conversations mean the world to me, and each one makes me want to redouble my efforts and get the word out about the amazing things this city’s musicians are capable of.

Speaking of what #rvamusic is capable of, here’s my list of favorite Richmond albums, with quotes from the folks I chatted with. To those people and everyone else on this list: Thank you for giving me the gift of inspiration throughout a truly messed up year.

Afro-Zen Allstars — Greatest Hits

From my River City Magazine interview with Afro-Zen bandleader George M. Lowe:

“I do this stuff to increase the amount of joy in the world. Nothing brings people together quite like music does, and being exposed to the musical culture of some other place can result in understanding more and grasping the fact that people are much more alike than they are different.”

Afro-Zen All Stars — “Cha Cha” [Bandcamp]

Saw Black — Azalea Days

So you know how Spotify spits out stats at the end of the year? My top songs were all from Moana or the Trolls movie, because I’m no longer the boss of my own car stereo. Also the Monster Mash. Halloween never really ended, as far as my daughter is concerned. The first real song on my Spotify list was “Rosie’s Comin Home.” A true crossover hit — dad and daughter singing along in the car to something not voiced by an animated character. Thank you, Saw Black. There are only so many times you can listen to the Monster Mash before you start unraveling. Yes, that was a mummy pun. I really need a break from the Monster Mash. By the way, what other song requires “the” before its title and therefore looks prohibitively strange inside quotation marks? I’ve gone back and forth about how to punctuate this paragraph for longer than I’d like to admit.

Saw Black — “Rosie’s Comin Home” [Spotify/iTunes]

Butcher Brown — Live at Vagabond

RVA Magazine was kind enough to let me review this one. Here’s a snippet:

Live at Vagabond captures both the energy of the crowd and the virtuosity of individual instrumentalists with remarkable clarity, giving listeners a taste of Devonne Harris’ compositional gifts, his adventurous approach to keys, and the ensemble’s knack for seizing the moment.

Butcher Brown — “Tunnelvision” [Spotify/iTunes]

Camp Howard — Juice

The title track is a true jam. I heard the band say they approached the instrumental work on “Juice” like they might have if they were using sampled sounds. It’s a neat thought experiment, and it resulted in a really great tune.

Camp Howard — “Juice” [Spotify/iTunes]

Dazeases — Local Slut

From my RVA Magazine interview with Dazeases:

Nevertheless, her performance style is self-made and singular. She prefers low lighting; just the night before, at a show in Charlottesville, she improvised her own ambiance using lamps she found at the venue. “Any photos — if you see a lamp on a chair, that was me.” And she described an approach to organizing set lists that involves front-loading upbeat material. “It’s really cool to watch that tone change or make that tone change happen,” she said. “I usually do an emotional slope in my sets, so it’ll start out as positive as I get for my music — it’s not really positive or happy by nature — and then just drag it down. Down, down, down. Like, unrelenting.”

Dazeases — “Laurel” [Spotify/YouTube]

DJ Harrison — Hazymoods

RVA Magazine let me review this one as well. It truly is an honor to document Devonne Harris’ brilliance as it unfolds. Here’s a section of that review:

Newcomers to the respected RVA collaborator’s solo work will get a sense for his keen ear — how he can blend disparate sounds, often from his own storied output as a producer and multi-instrumentalist, and make a cohesive musical moment.

DJ Harrison — “ProcessFresh” [Spotify/Bandcamp]

Thorp Jenson — Odessa

Another one RVA Magazine let me blurb:

It plays like an expertly crafted survey of styles from the last 60 years, from Stones riffs and heartland rock to country waltzing and soul not unlike Matthew E. White’s. Well-worn and world-class, right out of the gate.

Thorp Jenson — “Odessa” [Spotify/iTunes]

Sid Kingsley — Good Way Home

I was also fortunate enough to interview Sid Kingsley this year. What a brilliant, friendly, and humble person. If I were to assign a Revelation of the Year, it would be Kingsley’s voice. Arresting in the best way imaginable.

People assume that I’m influenced, and I’m trying to emulate some of these [singers]. Singing is totally a newer thing for me. It’s even newer than the piano, because I was definitely just playing piano and not singing at all. Super-bashful about it. I haven’t tried to emulate anyone vocally. Saxophone – I used to try to emulate Charlie Parker, Joshua Redman. But with my voice, I just sing. This is what I sound like.

Sid Kingsley — “Sam Stone” [Spotify/iTunes]

Minor Poet — And How!

I’ve written a bunch about And How!, and Andrew Carter was kind enough to call an article I wrote the definitive retelling of how the album took shape. Here’s a link — hopefully it gives you a sense of Carter’s love for the recording process. It was a truly inspiring conversation.

That curiosity led to years of experimenting with the recording process, and if there’s one thing And How! makes perfectly clear, it’s that Andrew Carter loves to record. You can hear it in the album’s opening moments — his knack for molding off-kilter sounds by manipulating sub-par equipment. “[In] that first song, ‘Plot Devices,’ there’s that weird, lo-fi stringy sound. It’s this little toy Casio run through a shit-ton of weird effects. That was part of the fun of making it. ‘What cool sound can I make that doesn’t exist?’”

Minor Poet — “River Days” [Spotify/Bandcamp]

Opin — Opin

I find myself coming back to this record time and again, finding new reasons to love it. There’s one constant, though, and that’s “Lift Canal,” which is at or near the top of the Best Songs of 2017 list I’m too overwhelmed to make. Speaking of overwhelm, “Lift Canal” has been there for me in some tough moments this year. Very thankful it exists.

Opin — “Get Home” [Spotify/iTunes]

Positive No — Partners in the Wild

The first tape I bought after being gifted a cassette player for Christmas. So begins a new era of jamming out in the car. Exceedingly psyched about this development.

Positive No — “Y.A.A.Y.Y.” [Spotify/iTunes]

Skinny-E — Brown Paper Bag

From the post I wrote after seeing Evan McKeel perform at In Your Ear studios late last year:

His set at In Your Ear was short, but he needed only sing a few lines for me to hear what millions of fans of The Voice had already heard — a truly incredible singing voice, able to ascend with ease and smokier than his years, with a natural distortion that provides texture and complements his precision. When I thought about the literal and figurative stage that he’d occupied on TV, sitting in that studio listening to him seemed like such a gift. It quickly sank in that he could sing pretty much any song he wanted to, which begs the question: What do you do when you can do anything?

Skinny-E — “Love Again” [Spotify/iTunes]

Eric Slick — Palisades

What a joy it was to speak with Eric Slick over the phone for this River City Magazine article and then shake his hand at the Richmond Symphony’s RVA Live! night. Two quick tangents: Did you know he hosts a truly awesome podcast called the Strange America Radio Half Hour? Or that his other band Lithuania (remember, he’s also the drummer for Dr. Dog) just released an album? Dude never stops. A few words about Palisades:

“These songs were birthed out of learning how to meditate. I started meditating and my creative life began, outside of drumming. So, it’s all still really new to me, and I’m still navigating how to be at the front of a stage, and how to be a performer. I feel like I’m juggling when I’m up there, but it’s really challenging and exciting and it’s a necessary part of my creative process. When I do go back to the drums now, I have this whole other perspective on how to play drums.”

Eric Slick — “You Are Not Your Mind” [Spotify/Bandcamp]

J. Roddy Walston & The Business — Destroyers of the Soft Life

Being the first to snag a copy of Destroyers of the Soft Life at Plan 9 was exceedingly rewarding, as evidenced by the test pressing pictured above. Digging into the liner notes in my companion copy was rewarding as well, as finding out that Michael York of Sleepwalkers played on “The Wanting” turned a song I already loved into a multifaceted celebration.

J. Roddy Walston & The Business — “The Wanting” [Spotify/iTunes]

Matthew E. White & Flo Morrissey — Gentlewoman, Ruby Man

White and Morrissey played four cities in support of Gentlewoman, Ruby Man: Paris, London, New York, and Richmond, Virginia. Their show at the Broadberry kicked off the tour, and I feel very lucky to have been there to see it. An all-star Spacebomb backing band, including Devonne Harris. A set of stunningly rendered cover tunes. I was especially thrilled to hear their take on Leonard Cohen’s legendary “Suzanne.”

Matthew E. White & Flo Morrissey — “Suzanne” (Leonard Cohen cover) [Spotify/iTunes]

More 2017 in Review:

2017 in Review: Live Albums
2017 in Review: Blasts from the Past
2017 in Review: Americana
2017 in Review: 25 Favorites

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2017 in Review: Americana

My first time splitting Americana out into its own category. It’s an admittedly nebulous distinction that’s useful in this case because it means I can list a bunch more albums that meant something to me this year. Here they are:

Bright Eyes — Salutations

Combine a wildly positive Friday Cheers experience this summer with the fact that the Felice Brothers provide a different backdrop than I’m used to hearing in Bright Eyes tunes, and you have an album that feels distinctly 2017 to me. The Felice Brothers even served as his backing band at that Cheers show. Just excellent. And yes, I did grab an official Conor Oberst harmonica at the merch table. The inscription: “Sorry for everything.”

Bright Eyes — “A Little Uncanny” [Spotify/iTunes]

Elkhorn — The Black River

A late-breaking addition. Grabbed this at Steady Sounds with Christmas money. Didn’t know it included a Coltrane number until I had a copy in my hands and could peep the back cover.

Elkhorn — “Spiritual” (John Coltrane cover) [Spotify/iTunes]

Dori Freeman — Letters Never Read

Wrote about this album on Thanksgiving. It was the kind of peaceful moment you wish for and rarely experience:

Was just in a crowded kitchen, mashing potatoes, listening to Dori Freeman’s new album, and thinking about how great a Thanksgiving soundtrack it makes… Her arrangement of “Ern & Zorry’s Sneakin’ Bitin’ Dog” is as simple as it gets — just her voice — like an old recipe rendered with care. It made for a moment of calm contentment amid a chaos for which I’m very fortunate.

Dori Freeman — “Ern & Zorry’s Sneakin’ Bitin’ Dog” [Spotify/iTunes]

Jake Xerxes Fussell — What in the Natural World

Year-end list are silly, but they can produce meaningful moments of agreement. Seeing this on Amanda Petrusich’s top-10 made me jump up and down on the inside. And if I’d gotten my shit together in time to do a top songs post, I would have put “Furniture Man” in it.

Jake Xerxes Fussell — “Furniture Man” [Spotify/iTunes]

Hiss Golden Messenger — Hallelujah Anyhow

If you’ve been to a Hiss show, you know leave about 157% more hopeful than when you walked into the venue. This album comes as close to instilling that feeling from afar as anything he’s recorded.

Hiss Golden Messenger — “When The Wall Comes Down” [Spotify/iTunes]

Jason Isbell and the 400 Unit — The Nashville Sound

“If We Were Vampires,” y’all. Kinda feels like that’s all you need to say, right?

Jason Isbell and the 400 Unit — “If We Were Vampires” [Spotify/iTunes]

The Kernal — LIGHT COUNTRY

From the cover art to the name “Kernal” to the fact that Taco Bell figures so prominently in the lyrics to my favorite song on the album… I have no idea what’s going on here. And I don’t want to know. I just want to spin this album and be happy. Light Country is about as quick a route from wherever I am to my musically induced happy place as I’ve found.

The Kernal — “At The Old Taco Bell” [Spotify/iTunes]

John Moreland — Big Bad Luv

Deep emotional intelligence. Earnest introspection. A testament to how profoundly sad music, when made honestly, can be a force for healing. Looking forward to his show at The Camel on January 14. Saw Black opening. Should be outstanding.

John Moreland — “Sallisaw Blue” [Spotify/iTunes]

David Rawlings — Poor David’s Almanack

I’m posting “Money Is The Meat In The Coconut” below because my daughter and I sang it together a few times and thinking about that makes me smile, but listen to the lyrics to “Yup.” Knocked me back when I saw it live at the National earlier in December.

David Rawlings — “Money Is The Meat In The Coconut” [Spotify/iTunes]

Willie Watson — Folksinger, Vol. 2

Got way into this after seeing Watson sing “Samson And Delilah” at that David Rawlings show in November. He also sang “Keep It Clean,” which is the last track on Vol. 1. I love that Rawlings passes the mic around like that.

Willie Watson — “Samson And Delilah” [Spotify/iTunes]

More 2017 in Review:

2017 in Review: Live Albums
2017 in Review: Blasts from the Past
2017 in Review: RVA
2017 in Review: 25 Favorites

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2017 in Review: Blasts from the Past

Here are the reissues I spent the most time getting reacquainted with in 2017:

Beyoncé — Lemonade

This counts as a reissue, right? Maybe? I don’t subscribe to Tidal, and I really wanted to avoid double-buying Lemonade like I did Beyoncé’s self-titled masterpiece (iTunes then vinyl). So I waited. And waited. And OK so maybe someone sent me a download link at one point, but still — it was cause for much rejoicing when a (yellow, obvs) vinyl version was issued this summer. Gives me a second chance to recognize Beyoncé’s second consecutive masterpiece.

Beyoncé — “Hold Up” [iTunes]

Jerry Garcia & Howard Wales — Side Trips, Volume One

Posted about this last month:

It’s a pretty snazzy album. Howard Wales wails (GET IT?!?) on Hammond organ and Fender Rhodes, and you get to hear how Jerry Garcia acts and reacts in a jazz setting. Parts can feel less like jazz and more like the middle of a Dead jam, but whatever. The vibe is fun and intuitive and exploratory, and it makes for great unfocused listening. Zone in. Zone out. Your call. It’s also perfect dinner music, assuming your guests are cool with meandering, guitar-driven jam-jazz. OK so maybe it’s better this is being reissued after Thanksgiving.

Jerry Garcia & Howard Wales — “Space Funk” [Discogs]

Radiohead — OKNOTOK 1997 2017

I had a perfectly good copy of OK Computer. I told myself I didn’t need the 20th anniversary reissue. Then I heard “Man Of War.”

Radiohead — “Man Of War” [Spotify/iTunes]

Sister Rosetta Tharpe — Live in 1960

Another pressing of this gem is coming in January, but a 500-copy limited white vinyl run hit independent record stores in December, and I’m so glad I was in the right place at the right time to snag one. It’s a solo show — just Sister Rosetta and guitar — and her guitar isn’t mixed all that loud, so what the recording really amounts to is an extended sermon given by one of rock and roll’s under-appreciated progenitors. I don’t put much stock in the Rock & Roll Hall of Fame, but it was nice to see she was chosen for induction this year. Credit where credit is due.

Sister Rosetta Tharpe — “Gospel Train” (live) [Spotify/iTunes]

Lal & Mike Waterson — Bright Phoebus 

I thought it was M.C. Taylor of Hiss Golden Messenger who evangelized for this on Instagram and put it on my radar, but now I can’t find the post. In the process of trying, though, I found this video of Taylor performing the title track with William Tyler. Pretty awesome if you ask me. Side note: “Bright Phoebus” handily wins the title for the song that got stuck in my head the most this year. Oh, and my daughter digs it too, which is fun.

Lal & Mike Waterson — “Bright Phoebus” [Spotify/iTunes]

Gillian Welch — The Harrow & the Harvest

One of my favorite musical moments of 2017 was finding out one my favorite albums of all time was being pressed to vinyl for the very first time. (“For the very first tiiiiime…” Sorry, I still have “Bright Phoebus” playing.)

Gillian Welch — “Hard Times” [Spotify/iTunes]

Neil Young — Harvest Moon

I became semi-obsessed with “Unknown Legend” via the cover version on Shovels & Rope’s Busted Jukebox, Volume 1. (Volume 2 out now!) So when I saw Harvest Moon was being pressed to vinyl for the first time for Record Store Day Black Friday, I was all like “Oh cool, the album with ‘Unknown Legend’ on it!” I waited in line for more than two hours in sub-freezing temperatures with no socks on (dumb), snagged a copy, brought it home, and then got surprise-excited when I heard one of my other favorite Neil Young songs… “Harvest Moon.” That’s right — in all that time waiting for BK Music to open while my ankles froze, I never managed to connect “Harvest Moon” the song with Harvest Moon the album. Like I said… dumb. Great album, though. Played it nonstop that weekend and a number of times since.

Neil Young — “Unknown Legend” [Spotify/iTunes]

More 2017 in Review

2017 in Review: Live Albums
2017 in Review: Americana
2017 in Review: RVA
2017 in Review: 25 Favorites

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