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therecordchanger62279 · 4 months ago

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MY 200 FAVORITE ALBUMS OF ALL-TIME

(Revised 2024 Edition)

To my way of thinking, a list of favorite albums changes over time. At any moment, there might be as many as 300 or 400 albums that are good enough to make a favorites list of 200. Where and how to cut is the question. I do a new list whenever the old one feels outdated to me. The criteria I use is pretty basic. I choose my favorite records to listen to, and those that get played more often are ranked higher. But my listening habits change from time to time, so when an album I love doesn't get played as often because I'm getting tired of it, it falls to a lower spot on the list, or disappears altogether. If I haven't played it in awhile, and it sound fresh to me, it goes back into regular rotation, and subsequently climbs higher on the list. I go through periods when I listen to one genre more than another, and that can also affect where the album lands on the list. Playability is the most important factor. That's why an album that has one great side that gets played all the time while the other side is ignored, won't rank as high as one that I enjoy playing from start to finish. And critics lists are things I often read, but completely ignore when it comes to doing my own. My list reflects my tastes, and my biases only.

This is my first revision since March of 2023. There are 28 new additions to the list this time marked with an asterisk. And, in case you're wondering, there were five artists that placed at least five albums on the list. They were The Rolling Stones (13), The Beatles (8), and The Beach Boys, Steely Dan, and Tom Petty each had five (though four of Petty's were with The Heartbreakers, and the fifth was a solo album). Here's my list, and I hope it encourages you to explore something you might not have heard, or to pull something out you may not have played in awhile.

1. All Things Must Pass – George Harrison (1970)

2. Revolver (UK) – The Beatles (1966)

3. The Wild, The Innocent & The E Street Shuffle – Bruce Springsteen (1973)

4. Blood on the Tracks – Bob Dylan (1975)

5. Sticky Fingers – The Rolling Stones (1971)

6. Close to the Edge – Yes (1972)

7. The Dark Side of the Moon – Pink Floyd (1973)

8. L.A. Woman – The Doors (1971)

9. Surrealistic Pillow – Jefferson Airplane (1967)

10. The Who by Numbers – The Who (1975)

11. Help (UK) – The Beatles (1965)

12. A1A – Jimmy Buffet (1974)

13. Bitches Brew – Miles Davis (1970)

14. Kind of Blue – Miles Davis (1959)

15. Pet Sounds – The Beach Boys (1966)

16. A Tribute to Jack Johnson – Miles Davis (1971)

17. Pat Metheny Group (1978)

18. A Hard Day’s Night (UK) – The Beatles (1964)

19. Aftermath (US) – The Rolling Stones (1966)

20. The Division Bell – Pink Floyd (1994)

21. Heavy Weather – Weather Report (1977)

22. Bridge Over Troubled Water – Simon & Garfunkel (1970)

23. Sweet Baby James – James Taylor (1970)

24. Surf’s Up – The Beach Boys (1971)

25. Exile on Main St. – The Rolling Stones (1972)

26. At Fillmore East – The Allman Brothers Band (1971)

27. Born to Run – Bruce Springsteen (1975)

28. The Hissing of Summer Lawns – Joni Mitchell (1975)

29. The Doors (1967)

30. Highway 61 Revisited – Bob Dylan (1965)

31. Rust Never Sleeps – Neil Young & Crazy Horse (1979)

32. Let It Bleed – The Rolling Stones (1969)

33. Astral Weeks – Van Morrison (1969)

34. (Untitled) (4th) – Led Zeppelin (1971)

35. Teaser & the Firecat – Cat Stevens (1971)

36. The Velvet Underground & Nico (1967)

37. On the Road to Freedom – Alvin Lee & Mylon LeFevre (1973)

38. Tea for the Tillerman – Cat Stevens (1970)

39. The Complete Africa Brass Sessions – John Coltrane (1961)

40. Holland – The Beach Boys (1973)

41. Layla and Other Assorted Love Songs – Derek & the Dominos (1970)

42. Heartbreaker – Free (1972)

43. Pisces, Aquarius, Capricorn, Jones, Ltd. – The Monkees (1967)

44. Beggar’s Banquet – The Rolling Stones (1968)

45. III – Led Zeppelin (1970)

46. Seventh Sojourn – Moody Blues (1972)

47. Forever Changes – Love (1967)

48. My Favorite Things – John Coltrane (1961)

49. Meet The Beatles – The Beatles (1964)

50. Can’t Buy a Thrill – Steely Dan (1972)

51. Beautiful Vision – Van Morrison (1982)

52. Days of Future Passed – Moody Blues (1967)

53. Setting Sons (US) – The Jam (1979)

54. The Captain & Me – Doobie Brothers (1973)

55. The Dream of the Blue Turtles – Sting (1985)

56. Willy & the Poor Boys – Creedence Clearwater Revival (1969)

57. The Way It Is – Bruce Hornsby & The Range (1986)

58. One Fair Summer Evening – Nanci Griffith (1988)

59. The Beatles Second Album -The Beatles (1964)

60. Who’s Next – The Who (1971)

61. Idlewild South – The Allman Brothers Band (1970)

62. Beatles ’65 – The Beatles (1964)

63. Presenting the Fabulous Ronettes featuring Veronica - The Ronettes (1964)

64. Chuck Berry is On Top – Chuck Berry (1959)

65. First Circle – Pat Metheny Group (1984)

66. The Allman Brothers Band (1969)

67. Young Americans – David Bowie (1975)

68. The End of the Day – The Reivers (1989)*

69. Visions of the Emerald Beyond – Mahavishnu Orchestra (1975)

70. Will O’ The Wisp – Leon Russell (1975)

71. 461 Ocean Boulevard – Eric Clapton (1974)

72. Band on the Run – Paul McCartney & Wings (1973)

73. It’s Only Rock ‘N’ Roll – The Rolling Stones (1974)

74. Manassas – Stephen Stills & Manassas (1972)

75. Pretzel Logic – Steely Dan (1974)

76. Peter Gabriel (3rd/Melt) (1980)

77. Made in Japan – Deep Purple (1973)

78. Where Have I Known You Before – Return to Forever (1974)

79. Green River – Creedence Clearwater Revival (1969)

80. Making Movies – Dire Straits (1980)

81. Rock ‘N’ Roll Animal – Lou Reed (1974)

82. Selling England by the Pound – Genesis (1973)

83. Heroes – David Bowie (1977)

84. Afro Blue Impressions – John Coltrane (1963)

85. Some Girls – The Rolling Stones (1978)

86. Diesel & Dust – Midnight Oil (1987)

87. Mysterious Traveler – Weather Report (1974)

88. Blues from Big Bill’s Copacabana – Various Artists (1968)

89. Modern Times – Jefferson Starship (1981)

90. Blow Your Cool – Hoodoo Gurus (1987)

91. Ram – Paul & Linda McCartney (1971)

92. Caravanserai – Santana (1972)

93. Odessey & Oracle – The Zombies (1968)

94. Black Market – Weather Report (1976)

95. Heart Like a Wheel – Linda Ronstadt (1974)

96. 12X5 – The Rolling Stones (1964)

97. Santana (1969)

98. In Concert: Live at Philharmonic Hall – Miles Davis (1973)

99. Bridge of Sighs – Robin Trower (1974)

100. Pirates – Rickie Lee Jones (1981)

101. Benefit – Jethro Tull (1970)

102. Madman Across the Water – Elton John (1971)

103. Countdown to Ecstasy – Steely Dan (1973)

104. McCartney – Paul McCartney (1970)

105. Yesterday’s Wine – Willie Nelson (1971)

106. Howlin’ Wind – Graham Parker & The Rumour (1976)

107. Voice of America – Little Steven (1984)

108. Out of Our Heads (US) – The Rolling Stones (1965)

109. Blow by Blow – Jeff Beck (1975)

110. Robbie Robertson (1987)

111. Gaucho – Steely Dan (1980)

112. Desire – Bob Dylan (1976)

113. Vol. 4 – Black Sabbath (1972)

114. Abbey Road – The Beatles (1969)

115. Aja – Steely Dan (1977)

116. Yessongs – Yes (1973)

117. Rickie Lee Jones (1979)

118. Bare Trees – Fleetwood Mac (1972)

119. Something/ Anything? – Todd Rundgren (1972)

120. After the Gold Rush – Neil Young (1970)

121. Physical Graffiti – Led Zeppelin (1975)

122. Rock ‘N’ Roll – John Lennon (1975)

123. Abraxas – Santana (1970)

124. Hard Promises – Tom Petty & The Heartbreakers (1981)

125. A New World Record – Electric Light Orchestra (1976)

126. Ghost in the Machine – The Police (1981)

127. The Low Spark of High-Heeled Boys – Traffic (1971)

128. Dreaming My Dreams – Waylon Jennings (1975)

129. We’re an American Band – Grand Funk Railroad (1973)

130. Chicago Transit Authority – Chicago (1969)

131. What’s Goin’ On – Marvin Gaye (1971)

132. Don’t Cry Now – Linda Ronstadt (1973)

133. Goodbye Yellow Brick Road – Elton John (1973)

134. Jaco – Jaco Pastorius (1976)

135. Peter Frampton (1975)

136. Prisoner in Disguise – Linda Ronstadt (1975)

137. El Mocambo 1977 – The Rolling Stones (2022)

138. Document – R.E.M. (1987)

139. Harbor – America (1977)*

140. Love’s Melodies – The Searchers (1981)*

141. Doll Revolution – Bangles (2003)*

142. Learning to Crawl – Pretenders (1984)

143. Black & Blue – The Rolling Stones (1976)

144. The Yardbirds (Roger the Engineer) (1966)*

145. Lifes Rich Pageant – R.E.M. (1986)*

146. America (1971)*

147. Wildflowers – Tom Petty (1994)*

148. Aladdin Sane – David Bowie (1973)

149. Dusty in Memphis – Dusty Springfield (1969)

150. Everything – Bangles (1988)*

151. That’s Why God Made the Radio – The Beach Boys (2012)

152. Stephen Stills (1970)*

153. On the Border – Eagles (1974)

154. Baron Von Tollbooth & The Chrome Nun – Kantner, Slick & Freiberg (1973)

155. The Pretender – Jackson Browne (1976)

156. Under the Big Black Sun – X (1982)*

157. Stand Up – Jethro Tull (1969)

158. Let Me Up (I’ve Had Enough) – Tom Petty & The Heartbreakers (1987)*

159. London Calling – The Clash (1979)*

160. Live at The Star Club – The Beatles (1977)

161. The Joshua Tree – U2 (1987)

162. Eat to The Beat – Blondie (1979)*

163. One of These Nights – Eagles (1975)*

164. Scarecrow – John Mellencamp (1985)*

165. Live – Bob Marley & The Wailers (1975)

166. Tattoo – Rory Gallagher (1973)

167. Orange Crate Art – Brian Wilson & Van Dyke Parks (1995)

168. Damn the Torpedoes – Tom Petty & The Heartbreakers (1979)*

169. Hard Again – Muddy Waters (1977)

170. Valley Hi – Ian Matthews (1973)

171. In the Court of the Crimson King – King Crimson (1969)

172. One Live Badger – Badger (1972)

173. Automatic for the People – R.E.M. (1991)*

174. Trilogy – Emerson, Lake & Palmer (1972)

175. Sunflower – The Beach Boys (1970)

176. 80/81 – Pat Metheny (1980)

177. Moving Pictures – Rush (1981)

178. Blue and Lonesome – The Rolling Stones (2016)

179. You Broke My Heart So I Busted Your Jaw – Spooky Tooth (1972)

180. Quadrophenia – The Who (1973)

181. Go for Your Guns – Isley Brothers (1977)

182. Hearts of Stone – Southside Johnny & The Asbury Jukes (1978)

183. Get Happy! – Elvis Costello & The Attractions (1980)*

184. Long After Dark – Tom Petty & The Heartbreakers (1982)*

185. Master of Reality – Black Sabbath (1971)

186. Led Zeppelin (1969)

187. Sign O’ The Times – Prince (1987)

188. Ambient 1: Music for Airports – Brian Eno (1978)

189. Liars – Todd Rundgren (2004)*

190. Electric Ladyland – Jimi Hendrix Experience (1968)

191. Blonde on Blonde – Bob Dylan (1966)

192. Tattoo You – The Rolling Stones (1981)*

193. My Generation – The Who (1965)*

194. Going For The One – Yes (1977)*

195. The Tortured Poets Society: The Anthology – Taylor Swift (2024)*

196. Bloodletting – Concrete Blonde (1990)*

197. Fear of Music – Talking Heads (1979)*

198. English Settlement – XTC (1982)*

199. Brain Salad Surgery – Emerson, Lake & Palmer (1973)

200. Never Mind the Bollocks, Here’s The Sex Pistols – Sex Pistols (1977)

#Top 200 Album List

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garudabluffs · 2 years ago

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Neil Young and Willie Nelson

Willie Nelson’s 90th Birthday Is Smoking, With Snoop Dogg, George Strait and Neil Young Among the Party Favorites at the Hollywood Bowl APRIL 30,2023

{Norah} Jones was the only participant of the night who actually started a band named after Nelson: her side project the Little Willies. “It started out as a Willie Nelson cover band,” she recalled on the carpet. “We ended up opening it up to different songwriters as well, but that’s how it started. I knew Willie would get a kick out of it, and we thought the Little Willies was a funny name. Well, the guys didn’t, but I thought it was.”

The full set list for Saturday’s show at the Hollywood Bowl:

Billy Strings: “Whiskey River,” “Stay All Night”

Charley Crockett: “The Party’s Over”

Particle Kid with Daniel Lanois: “The Ghost”

Edie Brickell with Charlie Sexton: “Remember Me”

Lyle Lovett: “Hello Walls”

Margo Price and Nathaniel Rateliff: “I Can Get Off on You”

Beck: “Hands on the Wheel”

Norah Jones: “Down Yonder,” “Funny How Time Slips Away”

Warren Haynes: “Midnight Rider��

Rosanne Cash and Kris Kristofferson: “Lovin’ Her Was Easier (Than Anything I’ll Ever Do Again)”

Lukas Nelson: “Angels Flying Too Close to the Ground”

Leon Bridges and Gary Clark Jr.: “Night Life”

Gary Clark Jr.: “Texas Flood”

“Thanks for coming to my dad’s birthday party,” said Micah Nelson, a few songs into an all-star tribute to Willie Nelson at the Hollywood Bowl, attended by a sold-out house happy that Willie had found a way to schedule the 90th anniversary of his birth on a Saturday night. With roughly seven decades of songwriting and recording to commemorate, though, the party is stretching over two nights, bundled together and sold as a single ticket, where by the end of Sunday night everyone will have heard about 50 artists perform a total of about 75 songs.

Ironically, one of the first numbers performed Saturday evening was young Texas country artist Charley Crockett doing a cut that Nelson had a hit with as a budding songwriter in the late ’50s: “The Party’s Over.” That title proved as un-prescient for Nelson’s career 65 years ago as it proved unprophetic for the scope of the Bowl celebration this weekend. But a little irony is always welcome in Willie’s world.

More from Variety

Billy Strings and Willie Nelson Commit to Going 'California Sober' in Duet Released for Willie's Birthday

Dave Matthews, George Strait, Jack Johnson, Emmylou Harris Among 16 Names Added to Willie Nelson Birthday Tribute at Bowl

Neil Young and Stephen Stills Bring Buffalo Springfield Classics Back to Life in Greek Theatre Autism Benefit

Saturday’s show climaxed with Nelson emerging more than three hours into the 220-minute proceedings to join forces with George Strait, Neil Young and Snoop Dogg, symbolically representing how welcome Willie has been in the worlds of country, rock and cannabis, respectively. In the preceding hours, he was serenaded by such disparate musical figures as the Chicks, the Lumineers, Ziggy Marley, Miranda Lambert, Beck, Chris Stapleton, Tom Jones, Norah Jones, Bob Weir, Jack Johnson, Margo Price and the rare surviving figure that can still count as one of his actual contemporaries, Kris Kristofferson. (Scroll through for a complete setlist from night 1.)

It was a savvily assembled mixture of talent and song choices — some of them very, very deep cuts — that paid tribute to a songwriting mastery that began in the Eisenhower era and will end well into the legal weed era. Except you can’t really say it paid testimony just to the writing, since Nelson had so many substantial hits with songs he didn’t pen himself, too. It was a tribute to the persona as well as the pen, of course… a salute to Zen made flesh.

Although the lineups for each night were not announced in advance, a majority of the artists announced are appearing both evenings, as it turns out, albeit not repeating the same numbers from night to night. Some of those who played Saturday will not be returning for night 2 — like Stapleton, obviously, who is headlining Stagecoach on Sunday. Some other big names had not yet appeared by the end of night 1, like Dave Matthews, Emmylou Harris. Sheryl Crow and the Avett Brothers.

Oh, and how about a couple of surprises that may yet be in store: Attentive fans in the merch lines noticed that the T-shirts being sold for the two-nighter mention Keith Richards and Justin Timberlake in the fine print. Did those two titans cancel before they ever got a chance to be announced, or are they being held back for a last-minute surprise — to everyone except the thousands of people who bought a poster Saturday?

The most emotional moment during Saturday’s opening night came not while Nelson was on stage for the final stretch, but literally hours earlier, when Rosanne Cash brought out Kristofferson to join her for a song he wrote, “Lovin’ Her Was Easier (Than Anything I’ll Ever Do Again).” Kristofferson’s longstanding issues with memory took him off the road years ago, and his voice wasn’t built for sweet harmony singing even in the best of days. But how sweet it was, regardless, as Cash gave her spiritual uncle all the support he needed to make this sad memory song feel like a warm, communal hug.

Asked on the red carpet about her song picks for the two nights, Cash said, “Oh, I got in there early, man, and asked for what I wanted!” — “Lovin’ Her” (or “Him,” in this case) on night 1 and the Townes Van Zandt-penned “Pancho and Lefty” for night 2. “I got to sing that for Willie when he got the Gershwin Award, and it was so much fun, I asked for that again… the ultimate story-song.” Of Nelson’s enduring appeal, Cash cited his command of multiple genres, his authenticity and, last but maybe not least, “his perseverance. You know, it’s not just about talent, it’s about showing up for work every day. And that’s what he’s done… Getting to witness him reaching 90, reaching this momentous point in his life, and he’s still gonna go out and play and sing? I mean, how many people get to say that they do that?” What would her dad be thinking? “I think he would’ve been jealous.”

For a comic high point, there might’ve been a tie, late in the game. It was hard to top Snoop coming out for their duet on “Roll Me Up and Smoke Me When I Die,” with the rapper doing a rare instance from his career of pure singing… and not sounding that bad at it. The crowd proved particularly suggestible during this number. “Is anybody out there smoking tonight? Roll one for Mr. Nelson,” Snoop suggested, and within 30 seconds, the amphitheater was filled with an obvious aroma. You might have expected that to happen a lot earlier, without any prompting, but maybe much of the crowd was like Nelson himself — long since moved on to edibles or other means of consumption that boomers took up to protect their lungs — but clearly many in the crowd had been bogarting the traditional stuff until this moment.

The other purely comedic number was the actual finale, where Nelson called an audible. The official backstage setlist showed the birthday boy finishing with “On the Road Again,” a gospel medley of “Will the Circle Be Unbroken” and “I’ll Fly Away,” and a round of “Happy Birthday to Me.” But then, with most of the cast on stage, perhaps feeling there was not enough levity in closing it out with something quite so seriously self-celebrating, he felt compelled to add, “I know what we’re gonna do. You all have to help me sing this one. My old friend Mac Davis wrote it.” That was the prompt for “It’s Hard to Be Humble,” a tune that’s so ridiculous a seminal humble-brag, it actually kind of counts as humbling.

Strait also provided his share of light-heartedness a bit earlier by joining Nelson on “Sing One With Willie,” the ultimate meta song, inasmuch as the 2019 track literally has as its sole subject Strait and Nelson finally getting to record a tune together. A bit more solemnly, they followed that with a duet of “Pancho and Lefty” (beating the aforementioned Rosanne Cash to that pick by one night).

Neil Young and Nelson shared the stage, backed by Lukas Nelson’s band Promise of the Real, for a loose version of “Are There Any More Real Cowboys?,” a track from Young’ mid-’80s Americana album “Old Ways.” Prior to Nelson making his first on-stage appearance as a sorta surprise guest midway through that number, Young and Stephen Stills teamed up for two numbers they had done together the previous weekend at the Greek at a benefit for an autism charity, “Long May You Run” and “For What It’s Worth.” These were outliers in the evening’s setlist, as far as neither of those numbers having anything ostensibly to do with the night’s honoree — although “Long May You Run” makes for a good birthday song. It would’ve been cool if Young had whipped up a Willie cover, but Neil’s ways are not our own, and the crowd did not register any objections.

Norah Jones had one of the most justifiably well-received mini-sets of the night, with a strong two-fer that showed off the more rollicking and/or gospel-inflected part of her piano range. On the first number of the two she did, Jones was actually paying homage to a different member of the Nelson family, Willie’s not-so-long-lost sister and longtime house pianist. “I would’ve done anything they asked me to do,” she explained on the red carpet. “There’s no bad song choices here. But I got asked to do a tribute to Bobbie Nelson, and so I get to play ‘Down Yonder’ on the piano, which is a real thrill because she was a huge influence on my piano playing, and I just loved her so much. From the first night I met Willie and the whole family and the whole crew and band 22 years ago, she was always so sweet to me, so I’m thrilled to be doing that. And also I get to sing one of my favorite songs, ‘Funny How Time Slips Away'” — a song that only grows more resonant each year for anyone cognizant of their own aging… and yet, for Nelson or any of his faithful interpreters, utterly tranquil in its wistfulness.

Jones was the only participant of the night who actually started a band named after Nelson: her side project the Little Willies. “It started out as a Willie Nelson cover band,” she recalled on the carpet. “We ended up opening it up to different songwriters as well, but that’s how it started. I knew Willie would get a kick out of it, and we thought the Little Willies was a funny name. Well, the guys didn’t, but I thought it was.”

Billy Strings was the only performer of the night who could lay claim to having released a record with Nelson this very weekend: their duet on a Strings-cowritten original, “California Sober,” which happens to be the neo-bluegrass artist’s first release for Reprise. On the red carpet, he allowed that this collaboration might get a performance of some sort for night 2, although he did two other songs, the Nelson standard “Whiskey River” and “Stay All Night,” to kick things off Saturday.

Said Strings, “What happened is, I was on the Outlaw tour (Nelson’s annual multi-artist outing), and then after that, I was just so into him, I was listening to ‘Redheaded Stranger’ exclusively for a couple weeks. So when I was sitting out by the burn pile at my house, I was ripping off a piece of cardboard to start my fire, and I came up with ‘I’m California sober, as they say’ and I started writing this down on the piece of cardboard that I ripped off. I said, ‘Man, this is such a Willie tune.’ We finished the demo of it and I sent it to Willie, and he said, ‘Hell yeah.’

“We went and cut it down in Austin. There was one moment where he sat down and was like, ‘Do you want me to do the first verse, do you want me to sing harmony — what do you want me to do?’ To have Willie Nelson sit down behind a microphone with his coffee and say, ‘All right, what do you want me to do?’ — I froze. But it was great. I mean, he’s 90 years old and he kicked ass on it. And when I was in the studio with him, I started hearing his younger voice — his younger self — coming out when he started singing on a couple certain takes.”

The new duet seems to reflect Nelson’s philosophy about weed, versus other substances. “Well, yeah, that’s in the very first verse: ‘I don’t get to acting mean when I keep my buzzes clean / Keep the hard stuff and the whiskey from my head.’ That’s another reason why I thought me and Willie could do this song, because it’s been like seven years since I’ve had a drink, but I smoke lots of weed and I’m like, well, who else is like that?”

Margo Price, whose earliest releases established her as part of Nelson-and-company’s outlaw country tradition, discussed her picks on the red carpet. For night 1’s “I Can Get Off on You,” “which is a Willie and Waylon (Jennings) song that I have loved forever, I recruited Nathaniel (Rateliff) to sing the harmony with me. And then tomorrow night I’m singing ‘Georgia on a Fast Train’ with Waylon Payne,” Jennings’ son.

Maybe even more so than most of the performers, Price has had a lot of Nelson songs in her repertoire in the past, as regular parts of the set or one-offs. “Whiskey River” has often been part of a medley with her own seminal signature song, “Hurtin’ on the Bottle”; she’s covered “Shotgun Willie” and “Sister’s Coming Home” live; and for a Spotify Sessions series of singles to commemorate Nelson’s 90th, she recorded “Hands on the Wheel,” which she calls “one of my favorite songs ever. There’s just endless Willie songs that we have learned — it’s like trying on a dress, and seeing how it fits,” said Price. “It’s like a masterclass in songwriting.” Her favorite part of the catalog is “that ‘Outlaws’ record he and Waylon and Jessi Colter had, with the country-funk stuff.” (Price has produced a yet-unreleased Colter album.) “To me, the really funky kind of vibe that he had, that’s what we’ve pulled from the most. And the way that he is unafraid to kind of talk about anything that he is going through … (yet) I like that Willie does not explain what any song is about. If you ask him, he won’t really tell you, because he wants you to find your own interpretation of it.”

Some of the most authentic-seeming “outlaw country” moments of the night came from a pair of true I-did-it-my-way performers, Jamey Johnson, who sang Billy Joe Shaver’s “Live Forever,” and Sturgill Simpson, who did “I’d Have to Be Crazy,” a song popularized (or semi-popularized) by Nelson that Simpson covered for one of this own albums. They were the two performers on the lineup least likely to crack a smile, but the authoritative air they both brought outweighed whatever they didn’t bring in the way of party hats.

“I didn’t have the nerve to say this to his face,” Simpson told the crowd, “but there’s only one reason I went to Nashville to make country records, and that’s because I grew up listening to country records made by Willie Nelson. And I wanted to make country records that were outside of the box of what most people think a country record can be. I only signed a record deal with Atlantic Records because Willie Nelson made those records on Atlantic. That didn’t work out too well for me,” he said, referencing his problems with record labels over the years, “but everything else did, thanks to you guys.”

Jack Johnson was one of the few Saturday night to perform an original song instead of a cover. “I wrote a song called ‘Willie Got Me Stone and Took All My Money,’ and it’s a true story,” he said on the carpet. “I’ve played it over the years and this is a perfect night to be playing it again… It’s probably about 10 years ago that it happened. It was one fun night in Maui where I borrowed a little money from my dad because I didn’t have any in my pocket at the time, and Willie took it all. It was well worth it. I had a lot more me great memories from that night than the amount of dollars that that left my pocket.”

(Strings also shared a similar story, saying, “He took a thousand dollars from me (at poker). I thought he was a nice guy. (But) I’d spend another couple grand to sit there and shoot the bull with him and his buddies who’ve been sitting there playing cards for 50 years.”)

The Lumineers sang “A Song for You” on night 1, which Nathaniel Rateliff will get to on night 2; on the second night, they’ll be doing the sad holiday perennial “Pretty Paper.” They remember growing up on Nelson and trying to figure out how his unusual phrasing fit into the musical pantheon they were otherwise being exposed to.

“He doesn’t have the traditional timing of like most singers,” remarked Wesley Schultz on the carpet. “I would say it’s almost like on Valium or something. It’s just like, ‘I’m gonna say it when I want to say it and it still feels correct, but you have to get used to it.’ That’s probably why as a kid, when you first hear it, you’re like, ‘That guy’s just doing whatever he wants to do right now!’ … It’s rare that I hear a singer where I know them by the first note they sing and by the first note they play on their guitar.”

Miranda Lambert covered one of the best-known Nelson songs (or Nelson and Jennings, that is): “Mammas Don’t Let Your Babies Grow Up to Be Cowboys.” “Yeah, we’re going for the big guns,” she said on the carpet, while confessing, “It was hard to pick and I just picked randomly. Because you can’t really go wrong with anything you pick, you know?” As a native Texan, she said, “It’s the sound of my home and it always has been.”

Lambert had a lot of company from other Texans on the bill, like Crockett. “Tonight I’m doing ‘The Party’s Over’ and tomorrow night I’m doing ‘Yesterday’s Wine,’ the title track to his first concept album,” said the rising star. “There’s 50 Willie Nelson songs I would’ve been honored to sing tonight.” And Crockett really does know a lot of them, from close proximity, from their touring together.

“I played about 30 shows with him last year, and I was side-stage on every one of those nights and I never missed a single song. And he made me cry every night, because all of those songs that he was doing were a soundtrack to our lives,” Crockett said. “I’m not missing a single word because I never got to see him” growing up. Even as an adult he’d only seen him once, at Luck Ranch in 2016, “until he called me up out of the blue and asked me to start playing shows with him. And it’s not even that I just want to watch this iconic master play. It’s that those songs are so deeply ingrained in us, as Texans growing up, that it was bringing things out in me listening to him that I just didn’t even know were there.”

Lyle Lovett sang the early hit “Hello Walls” Saturday and will follow that by covering “My Heroes Have Always Been Cowboys” for the closing night. “I have never performed the songs that I’m singing this weekend, and I’ve always loved them, but when you learn what a song, you, it speaks to you in a different way. You appreciate everything about it — the construction, the choice of words, the choice of conjunctions. Down to the finest point, you realize that every word was intentional and it just makes you think. I’ve always thought of ‘Hello Walls’ as the perfect song… I’ve always pictured somebody sitting alone in his apartment house, a guy like me, and he writes what’s around us” — even if that’s just feeling the walls closing in around him as his only friends to talk with. “I mean, it’s just really just looking around and writing something that specifically poignant… that’s focus.”

Added Lovett: “You learn a lot from bumper stickers, but ‘What Would Willie Do?’ is a great way to approach writing a song as well.”

The full set list for Saturday’s show at the Hollywood Bowl:

Billy Strings: “Whiskey River,” “Stay All Night”

Charley Crockett: “The Party’s Over”

Particle Kid with Daniel Lanois: “The Ghost”

Edie Brickell with Charlie Sexton: “Remember Me”

Lyle Lovett: “Hello Walls”

Margo Price and Nathaniel Rateliff: “I Can Get Off on You”

Beck: “Hands on the Wheel”

Norah Jones: “Down Yonder,” “Funny How Time Slips Away”

Warren Haynes: “Midnight Rider”

Rosanne Cash and Kris Kristofferson: “Lovin’ Her Was Easier (Than Anything I’ll Ever Do Again)”

Lukas Nelson: “Angels Flying Too Close to the Ground”

Leon Bridges and Gary Clark Jr.: “Night Life”

Gary Clark Jr.: “Texas Flood”

Jack Johnson: “Willie Got Me Stoned and Took All My Money”

Tyler Childers and the Food Stamps: “Healing Hands of Time,” “Time of the Preacher”

Ziggy Marley: “Still Is Still Moving to Me”

Tom Jones: “Opportunity to Cry”

Jamey Johnson: “Live Forever”

Bob Weir: “Blue Eyes Crying in the Rain”

The Chicks with Keith Sewell: “Bloody Mary Morning”

The Lumineers: “A Song for You”

Nathaniel Rateliff: “City of New Orleans”

Sturgill Simpson: “I’d Have to Be Crazy”

Miranda Lambert: “Mammas Don’t Let Your Babies Grow Up to Be Cowboys”

Chris Stapleton: “The Last Thing I Needed the First Thing This Morning,” “Always on My Mind”

Neil Young and Stephen Stills with Promise of the Real: “Long May You Run,” “For What It’s Worth”

Willie Nelson, Neil Young, Lukas Nelson, Micah Nelson with Promise of the Real: “Are There Any More Real Cowboys”

Willie Nelson and George Strait: “Sing One With Willie,” “Pancho and Lefty”

Willie Nelson and Snoop Dogg: “Roll Me Up and Smoke Me When I Die”

Willie Nelson with ensemble: “On the Road Again,” “Will the Circle Be Unbroken”/“I’ll Fly Away,” “Happy Birthday,” “It’s Hard to Be Humble”

READ MORE https://www.msn.com/en-us/music/other/willie-nelson-s-90th-birthday-is-smoking-with-snoop-dogg-george-strait-and-neil-young-among-the-party-favorites-at-the-hollywood-bowl/ar-AA1az9D2

"All of the sudden, it didn't matter if you were a hillbilly or a hippie, everyone was a Willie Nelson fan," Wilson said of Nelson's late-blooming emergence as a singing superstar when he left Nashville, Tennessee, and returned to his native Texas in the 1970s. "Even the Dalai Lama is a Willie Nelson fan. It's true."

The crowd, which ranged from small children to seniors, illustrated the point. The stands were dotted with cowboy hats while hippies danced in the aisles and weed smoke wafted in the air."

READ MORE https://www.wvpe.org/npr-news/2023-04-30/neil-young-and-snoop-dogg-joined-willie-nelson-on-stage-for-a-90th-birthday-concert

View More https://www.msn.com/en-us/music/news/willie-nelson-inhales-the-love-at-90th-birthday-concert/ar-AA1ayene?cvid=3cd650c898b946fd857745afee52d934&ei=175

#Willie Nelson Hollywood Bowl 2023 April 29-39

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manitat · 3 years ago

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13 NAJDRAŽIH MI TRIBUTE TO ALBUMA !!!

Where The Pyramid Meets The Eye: A Tribute To Roky Erickson

If I Were A Carpenter: A Tribute To The Carpenters

The Bridge: A Tribute To Neil Young

Step Right Up: The Songs Of Tom Waits

Sweet Inspiration: The Songs Of Dan Penn & Spooner Oldham

Full Circle: A Tribute To Gene Clark

We Will Fall: The Iggy Pop Tribute

Paint It Blue: The Songs Of The Rolling Stones

Adios Amigo: A Tribute To Arthur Alexander

I'm Your Fan: The Songs Of Leonard Cohen

Fifteen Minutes: A Tribute To The Velvet Underground

Total Lee! The Songs Of Lee Hazlewood

Lost In The Stars: The Music Of Kurt Weill

#where the pyramid meets the eye #if i were a carpenter #the bridge: a tribute to neil young

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meadow-dusk · 3 years ago

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no one asked for this but here's a list of songs that would be absolutely to die for in the vocal/instrumental stylings of each member of CSNY.

Crosby: Please Don't Tell Her - Jason Mraz

A newer selection for me (i.e., a song younger than I am) but Jason Mraz is kinda cut from the same cloth, he just missed the movement by a few decades (bonus that his paper airplane-folding on the album cover could be easily mistaken for rolling a joint). It's easy for me to imagine this song in David's voice: the soft, mellow verses, the building intensity in the bridge, the range. Even the lyrics themselves just feel like they have a theme Crosby would intone: missing someone desperately, pretending you're okay. Aside, Crosby & Nash provided backup vocals for Mraz on an album of Hendrix tributes (which I can never find, kudos if you can).

Stills: Thorn Tree in the Garden - Derek & the Dominoes

Even before the vocals come in, I have absolutely no barriers to imagining this as a Stills song. In some sources, he's been mentioned in the same breath as Clapton, and while it's a mystery to me he never achieved the same notoriety, Stephen deserves to be in the conversation based on talent alone. I imagine this one in his style of fingerpicking, deft and clear. Vocally, he'd blow Bobby Whitlock out of the water, especially towards the end with the lofty ad-libs.

Nash: Same Auld Lang Syne - Daniel Fogelberg

It's not technically a Christmas song, but even if you view it as one it's practically October and that's every excuse we need. I was melting just imagining this sung by Graham. It's a poignant piano-based tune about finding an old lover and reminiscing about youth and time gone by, alternating between moments of quiet consideration and impassioned anguish. Elevated by Graham's abilities to nimbly jump around the scale, it would convey every intended emotion and a little bit more.

Young: Always on My Mind - Willie Nelson

I'm not entirely sure he never did cover this. Since Neil, Willie, & John Mellencamp have been the organizers for Farm Aid for like the past 30 years, chances are they exchanged songs or at least backed one another up at one point in time. An '80s country song, there's kind of a lot going on in this version that I don't think is necessary. I imagine it done by an older Neil, guitar-centric, probably still featuring a harmonica and accordion in the instrumental, because why not. As Willie does here, Neil would deliver it with a voice fragile and vulnerable, so quiet but so moving. Always on my mind indeed.

#obviously the reasons I love them most are based on their OWN writing abilities and what their own brains can create #but this came about entirely organically and it was fun.#highly recommend.#David Crosby #Stephen Stills #Graham Nash #Neil Young #CSNY #Spotify #🎵#CSNY Dream Covers #actually blogging

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x--daughters-of-darkness--x · 4 years ago

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TAYLOR MOMSEN Shares Story Behind SOUNDGARDEN Collaboration "Only Love Can Save Me Now"

Taylor Momsen has been through the wringer. The Pretty Reckless frontwoman and former Gossip Girl star just released her most viscerally personal record yet. Death By Rock and Roll might be stacked with hard rock songs and bangers. But it also comes from a place of deep pain, healing and grief.

“It was a very scary time for me” said Momsen in a recent interview with Metal Injection, “I was content to fade away into nothing.”

It started, ironically, with one of the best moments in Momsen’s life. The Pretty Reckless got the call that they booked to be the opening band on Soundgarden’s 2017 North American tour. Describing Soundgarden as “one of my desert island bands”, Momsen says the experience was “absolutely amazing…surreal. They always say don’t meet your idols, but then they exceeded my expectations in every way.” But things ended in tragedy after Chris Cornell’s suicide in Detroit on the last day of the tour. “It was the highest of highs to lowest of lows in the snap of a finger. It was such a shock.”

There was another year-long tour for The Pretty Reckless already booked. But Momsen soon realized this was not the right time. “I quickly came to the conclusion that I was not in a great place to be in public," she says, "I wasn’t handling it well. Just getting on stage and feigning my way through this entertaining show, it didn’t feel fair to the fans. It meant that I needed to take a step back, go home and get my feet back on the ground.”

The Pretty Reckless cancelled the rest of their shows and, after several months, began to work on their new record. But then, tragedy struck again. Kato Khandwala, the band’s producer since their debut, died in a motorcycle accident at the age of 47.

“That was the nail in the coffin," says Momsen, "I went downhill, into this dark hole of depression and substance abuse and everything that comes along with grief and loss and trauma…I went through a period when I felt that couldn’t listen to music. Anything. It all brought back these memories that I wasn’t ready to handle. And I stayed in that dark space where I was content with fading into nothing. I just didn’t see a future. Not in music. Not in life."

She continued "As cliche as it may sound, it was music that brought a light back in my eye…I (asked) myself ‘where did this start for you?’ The simple answer was The Beatles. So I listened to all The Beatles records back to front. Then I got into Led Zeppelin, Pink Floyd, Jimi Hendrix, Bob Dylan, Cream, Neil Young, Oasis. It was at this point I realized I could listen to Soundgarden and have it bring me joy again. That was a big turning point. And naturally, the next step in that process was to pick up a guitar. After that, this record just kind of poured out of me whether I wanted it to or not. I didn’t try to write this album. This album wrote itself.”

In the middle of all this, Taylor Momsen sang at the “I Am The Highway” tribute concert, fronting Soundgarden for three songs. It was originally only one, but at the last moment Momsen stepped up to sing “Drawing Flies” and “Rusty Cage”. “There was no rehearsal,” she says, laughing, “We had jsut finished soundcheck. Then someone ran out and tapped on the car as we were leaving. He said “You’re singing ‘Rusty Cage’ tonight”. It’s very different knowing a song inside and out on record and actually singing it.”

Death By Rock n’ Roll was released this February, two years after Kato’s death and nearly four-and-a-half after Chris Cornell's. Soundgarden members Kim Thayil and Matt Cameron leant their talents to the song “Only Love Can Save Me Now” at Seattle’s legendary London Bridge Studios. This meant Taylor was writing side by side with her heroes in the same studio where grunge classics Louder Than Love, Dirt and Ten were recorded. The sessions were “the highlight of my musical life” for Momsen. She admits that “Only Love Can Save Me Now” is her favorite track off the new album, and that she felt it was a “cathartic healing moment.” that "helped close the circle of grief."

Soundgarden’s members give the track their all. Kim Thayil’s snarly squelching sound remains recognizable and unique. Matt Cameron (who has also been behind Pearl Jam's kit since 1998) is there to remind us why he’s one of the most respected drummers in the game. Momsen's songwriting and youthful energy bring the song to life. "The first time we heard it come out of the speakers, Kim's guitar and that first snare hit Matt does, it was unbelievable" says Momsen. This is no one-off. It is a stunning tribute from one of Cornell’s biggest fans and his most famous collaborators.

#taylor momsen #the pretty reckless #2021 interviews

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laszonasabisales · 3 years ago

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The Bridge: A Tribute To Neil Young

#cloe aicart #cloeaicart

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musicoccurred · 6 years ago

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Pearl Jam -The Home Shows

Who: Pearl Jam Where: The Home Shows, Seattle, WA. When: August 8, 10 2018

I've said this before and it remains true. A Pearl Jam concert is much more than just a show. It's a celebration. A celebration of music, of a long relationship and of course, life. Very few places do I feel absolutely at home but a Pearl Jam show is one of them. Certainly we're all different people but for 3 hours we're one. These Seattle shows reminded me of a pilgrimage, I'm sure there were lots of Seattle folks there but most of the people I chatted with were from other places. For me it was a bucket-list item, to see Pearl Jam in their home city, a city that gave us so much music and so many iconic bands.

These concerts, "The Home Shows," given that name because the tour takes place mainly in MLB stadiums, had a similar feel to PJ20 the 20th anniversary shows in Alpine Valley, Wisconsin in 2011. No, there weren't multiple bands on the bill, but there were multiple activities and certainly a festive vibe. The Seattle Museum of Pop Culture, aka MoPop, had an exhibit dedicated to Pearl Jam opening on the Saturday after the shows but 10c (Ten Club, Pearl Jam's fanclub) members could gain access on Thursday during the day off between shows. London Bridge Studios where Ten was recorded also had Pearl Jam specific tours and legendary concert photographer Danny Clinch had a pop up shop with photos available for autograph and purchase. Did I mention it all took place in Seattle? Not only a great city but a city full of Pearl Jam history, we're talking The Off Ramp, Moore Theater, Benaroya Hall, Showbox, Easy Street Records, the list goes on!

Wednesday, Night 1

It has become popular again for bands to have artists make posters for concerts, particularly individual posters for each show. Pearl Jam is one of the few that's always done this. It is an expensive habit and the posters are treated as currency among 10c members. For these shows there were 5 unique posters all by artists Pearl Jam has used extensively in the past. A point of contention here, at their larger shows, the band has started setting up tents to sell merch throughout the day and even on days before and after the shows. Because they are open to the public, it's safe to say there are people there buying and going straight to eBay. The lines took many hours to navigate, there has to be a better way. How about when a 10c member buys a ticket through the band's website we get a code unique to us that allows us to purchase merch online and have it shipped to our homes? Place whatever quantity limits you want, something needs to change. A highlight of waiting around in the sun all day, I met a cool young man that had traveled from Tokyo to attend his first Pearl Jam show. There were people coming to Seattle from all over the world, this guy was in for a night he won't soon forget.

Several years ago Pearl Jam shows began lasting +- 3 hours. They always played a lot of songs but when this happened they finally shed the opening act. No complaints here. At 8:30 straight up the band took the stage to a loop of "Aye Davanita" from Vitalogy and ease into "Long Road." Now PJ's MO is that they play a quiet track or two then something noisy. Not on this night, Eddie wanted it to be an intimate gathering so "Long Road" led to "Release" followed by "Low Light" and crowd favorite, the singalong "Elderly Woman Behind the Counter in a Small Town." Genius. How do you transition from slow and quiet into something noisy? "Corduroy" that's how. Even though it's a song that PJ play pretty much every show it remains a favorite for me. Its long intro whips the crowd into a frenzy that continued with "Go," "Do the Evolution" and the Ramones-esque "Mind Your Manners." Each setlist is crafted by Ed with input from the band to fit the venue, audience and history of the band/city. Probably the most notable moment of the show was when Eddie broke down the meaning of "Evenflow." "Evenflow" is a concert staple, performed pretty much every time they play. In the 90s it was the song people liked when they didn't like PJ. Fast drums and guitars, weird lyrics just a fun rock song. But on this night, after the band had worked hard with politicians and local businesses to raise money and awareness for Seattle's horrible homeless problems Ed opened up a bit. When the band had just formed they spent a lot of time in the Belltown/Pioneer Square areas of Seattle. They befriended another Eddie, this one a homeless African-American Vietnam Veteran with mental health problems. He was known for his wild hair and wearing a tarp like a poncho. When he was mentally present he would tell them about Vietnam and his struggles with returning to civilian life. Other times, he simply wasn't there mentally. His visits greatly affected the band and when they came back from a tour they couldn't find him. Searching all over Seattle they finally found him sleeping on concrete under a viaduct. Returning from a later tour they again couldn't find him and discovered he had passed away. Suddenly "Evenflow" makes perfect sense, Ed held on to that story for 28 years. Other highlights, Ed performed a solo rendition of Jack White's "We're Going to be Friends" in honor of teachers everywhere. During the performance, his daughters danced with their favorite teachers (clad in Mariners jerseys with Vedder on the back) behind him. During the encore Brandi Carlile joined the band for "Again Tonight" a song PJ had covered for a benefit album. I love when other musicians join Pearl Jam on stage and look out at the giant crowd with wide eyes, Brandi ever the badass, threw her head back and screamed into the Seattle sky. They closed the show with "Rockin' in the Free World" and my least favorite live song, "Yellow Ledbetter" the show clocked in at 33 songs over 3 hours.

Thursday, Day Off

I snoozed on the London Bridge Studios tickets so that was out. I was looking forward to roaming around the city and attending the Pearl Jam exhibit at MoPop. Situated near the Space Needle and the Experience Music Project, MoPop is covered in tourists. Lucky for us this was a 10c event only. Jeff Ament is the de facto historian of the band keeping massive amounts of memorabilia in a warehouse. This band kept everything. I mean EVERYTHING. They have the cassettes that Stone/Jeff and Ed mailed back and forth to begin their relationship. Seeing these in person was powerful. Pearl Jam have provided the soundtrack to my life and quite literally if those tapes didn't exist I wouldn't have been standing there all those years later. Favorite moments: seeing the typed and written lyrics and loads of Ed's notebooks, the incredible statue of Andy Wood that Jeff commissioned (more on that here) as well as posters from every show. If you're in Seattle I highly recommend seeing this exhibit.

Friday, Night 2

Again starting at 8:30 PJ opens with three slow burners, "Oceans," "Footsteps" and "Nothingman" before blasting off with "Why Go" and "Brain of J." This was going to be awesome. I love the 2nd PJ shows, all of my needs are met by the first night. Nervousness is gone, just relax and enjoy the show. This show really focused on older material, only two tracks were post 2000. The band were much looser as was the crowd. The singalongs were louder and sharper, I refrained, choosing instead to just absorb the love and energy flying around the stadium. During "I Won't Back Down," a solo tribute to the great Tom Petty, Eddie asked the crowd to turn on their cell phone flashlights so Tom could see. The result was mesmerizing. The band also honored Chris Cornell by performing "Missing," a very rare deep cut. Speaking of Cornell, Kim Thayil joined the band for "Kick Out the Jams" and later joined Steve Turner and Mark Arm of Mudhoney (and Green River!) for "Search and Destroy" and "Sonic Reducer." Favorite moments: the aforementioned songs plus Ed hosing up the intro to "Rearviewmirror" to the point the band had to stop. Ed broke into "Fernando" by Abba saying that's what he was hearing. What can I say, the guy is hilarious. Other notable moments, Mike's solo on "Evenflow" was one of the best I can remember. What a beautiful night. 36 amazing songs over 3.5 hours in the glorious Seattle night.

Setlist Night 1:

Long Road Release Low Light Elderly Woman Behind the Counter in a Small Town Corduroy Go Do the Evolution Mind Your Manners Throw Your Hatred Down (Neil Young cover) Lightning Bolt Given to Fly All Those Yesterdays Even Flow Help! (The Beatles cover) (snippet) Help Help Black Setting Forth Play Video I Am a Patriot (Little Steven cover) Porch Encore: We're Going to Be Friends (The White Stripes cover) (live debut by PJ) Nothing as It Seems Let Me Sleep Breath Again Today (with Brandi Carlile) State of Love and Trust Rearviewmirror Encore 2: Wasted Reprise Better Man (with “Save It for Later” tag) Comfortably Numb (Pink Floyd cover) Alive I've Got a Feeling (The Beatles cover) Rockin' in the Free World (Neil Young cover) Yellow Ledbetter

Setlist Night 2:

Oceans Footsteps Nothingman Why Go Brain of J. Interstellar Overdrive (Pink Floyd cover) Corduroy Rats In Hiding Whipping Even Flow Missing (Chris Cornell cover) (live debut by PJ) Daughter (with "W.M.A" and "It's Ok" tags) Immortality I'm Open Unthought Known Can't Deny Me Do the Evolution Lukin Porch Encore: I Won't Back Down (Tom Petty cover) (EV solo) Thin Air Better Man (with "Save It for Later" by English Beat tag) All or None Crown of Thorns (Mother Love Bone cover) Kick Out the Jams (MC5 cover) (with Kim Thayil) Spin the Black Circle Play Video Rearviewmirror (with "Fernando" (ABBA)… more ) Crazy Mary (Victoria Williams cover) Jeremy Leash Search and Destroy (Iggy and The Stooges cover) (With Kim Thayil, Steve Turner, and Mark Arm) Sonic Reducer (Dead Boys cover) (With Kim Thayil, Steve Turner, and Mark Arm) Alive Baba O'Riley (The Who cover) Yellow Ledbetter

-JS

#concert #Pearl Jam #musicoccurred

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rastronomicals · 9 months ago

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6:26 PM EST February 25, 2024:

The Flaming Lips - "After The Gold Rush" From the tribute album The Bridge: A Tribute to Neil Young (July 28, 1989)

Last song scrobbled from iTunes at Last.fm

The first of the tribute albums. It'd be awesome if this was a great record, but it's not. It's OK. But props for inventing shit, you know?

#The Flaming Lips #The Bridge: A Tribute to Neil Young #After The Gold Rush

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manitat · 4 years ago

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The 50 Best Tribute Albums Ever

#where the pyramid meets the eye: a tribute to roky erickson #the bridge: a tribute to neil young #if i were a carpenter

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moleasia4-blog · 5 years ago

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The Pains of Being Pure at Heart Cover Tom Petty’s Full Moon Fever

Today marks the one-year anniversary of Tom Petty’s death. I consider Petty one of my favorite artists of all time so this announcement is certainly a little bittersweet.

Indeed, singles like You Don’t Know How It Feels and Mary Jane’s Last Dance soundtracked those balmy teenage summers cruising around Ohio in beat up cars, getting up to no good with my friends and just having a good time. Tracks like Free Fallin’ and I Won’t Back Down felt ubiquitous in film, television, radio and, of course, simply playing in the background in public places, the same way the Beatles or The Rolling Stones might. In fact, his music was so ubiquitous that at some point around college, I think I decided it wasn’t cool anymore. Naturally, that didn’t last.

It was maybe 6-7 years ago now that I found myself in a shuttle bus in Austin and the driver was listening to a Tom Petty Greatest Hits collection. I was in town for SXSW and the bands I was most excited for included The War on Drugs, Mikal Cronin, Lower Dens, and so forth. All bands I realized, as I sat in that van, that owed a debt (directly or indirectly) to Tom Petty. More importantly, I just realized that these were damn good songs. That was how it started.

After the trip, I sourced first pressings of Into The Great Wide Open, Wildflowers, and (of course) Full Moon Fever on vinyl. I was well along the path towards full blown Tom Petty fandom, although it wasn’t until I saw him perform live for the first time, at Outside Lands Festival in 2014, that it really, really clicked.

Before he took the stage, I was tired, probably more than a little dehydrated (they offer free beer in the press tent), and very ready to get home. I wouldn’t have missed his set entirely but I was willing to leave early. I told myself I’d stay for the first part of his set and then eventually leave when he played a song I didn’t love.

The problem? He never played a song I didn’t love. In retrospect, that makes sense. I mean, take Full Moon Fever as an example. It was Petty’s solo debut record and it is absolutely packed with hits. No less than 5 tracks charted on the Billboard Top 100: Free Fallin’, I Won’t Back Down, Runnin’ Down a Dream, Yer So Bad, and A Face in the Crowd. But even the tracks that didn’t chart could have been hits: Love Is A Long Road, Depending On You, A Mind With a Heart of its Own. The same could be said for so many of his albums. This dude’s catalog is deep.

So it’s with pride that today we’re announcing the release of The Pains of Being Pure at Heart’s full album cover of Full Moon Fever. We talked about this one way back when we initially launched our Kickstarter so it’s with a little extra satisfaction that we’re finally able to share it with you all.

Here’s what Kip Berman from The Pains of Being Pure at Heart had to say about the album:

“I grew up loving Tom Petty – thanks to my step dad who played him nearly constantly and scoffed at the ‘grunge’ era of bands that didn’t share Petty’s classicist reverence for the history of rock music. I’ve long identified with Petty’s celebration of songwriting and his general disregard for most everything else. Yet, he was often seen as a second fiddle to Dylan, Neil Young, Springsteen, Stevie Nix, The Byrds, George Harrison, and more. But as far as I can tell, all these people (not sure about Springsteen) actually revered Petty – and genuinely liked his company. His greatness was that he didn’t seem to be too bothered if people thought he was great or not. What mattered to him was being part of a lineage of timeless rock songwriting.

Is it cheesy to say “Tom Petty was all about the music, man?” Maybe. But he wrote so many iconic songs – and is remembered for little else – that it seems apt. There are no lurid Tom Petty scandals, car crashes, stints in jail, public meltdowns or things he had to walk back and make us cringe today (well, maybe ‘Zombie Zoo’). His legacy is just DECADES of iconic songs. He was an unconventional conventional rock star – his charisma subtle, his voice nasal but effective, and his appearance was – at best – a bit avian. He was probably the least technically gifted performer to ever headline the Super Bowl Halftime show. He wasn’t a dancer, guitar virtuoso, crooner or sex symbol – he just got there by wring a lot of great songs that everyone loved.

Tom Petty’s first solo album, Full Moon Fever (which featured almost all of his actual band members, cameos from Roy Orbison, George Harrison, and Del Shannon, and was produced by ELO’s Geoff Lynn), coincided with an era that was especially inspiring to my own music in The Pains of Being Pure at Heart. Released in 1989, it was weirdly aligned with a lot of the ideas that attracted me to bands like The Pastels, Teenage Fanclub, R.E.M., The Replacements, or Jesus and Mary Chain – jangling guitars, sweet harmonies, classic songwriting (verse, chorus, verse chorus, bridge, chorus chorus) and lyrics that captured a very specific point of view. But unlike those bands, Petty was an arena act, at home and enabled by large record labels and big budget videos, and (by this era at least) had about zero reputation as ‘cool.’ So I thought it would be a great tribute to one of my heroes to re-imagine his music in the context of my own – to wonder what it would be like if the songs he wrote sounded a bit more like the artists that were working in the underground at the time he was making this iconic record.”

Like the artwork for our last three releases, that beautiful cover art is designed by Seattle-based illustrator Teresa Grasseschi.

The Pains of Being Pure at Heart’s version of Full Moon Fever is only available by subscribing to SOUNDS DELICIOUS. In addition to a deluxe edition for our Kickstarter supporters, it’s available on gold colored vinyl for recurring subscribers and gift orders of 6-months or more (while supplies last) and on black vinyl for all other orders. As always, each copies comes packaged with a digital download of the album. As always, it’s limited edition – so act fast! This officially drops on October 26th and we expect to begin shipping around that date.

Below you can hear the Pains take on “Runnin’ Down A Dream.”

Source: https://www.turntablekitchen.com/2018/10/pains-of-being-pure-at-heart-tom-petty-tribute/

#read more #see more #check it out #interesting #learn more

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condorbill36-blog · 6 years ago

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The Pains of Being Pure at Heart Cover Tom Petty’s Full Moon Fever

Today marks the one-year anniversary of Tom Petty’s death. I consider Petty one of my favorite artists of all time so this announcement is certainly a little bittersweet.

Here’s what Kip Berman from The Pains of Being Pure at Heart had to say about the album:

Like the artwork for our last three releases, that beautiful cover art is designed by Seattle-based illustrator Teresa Grasseschi.

Below you can hear the Pains take on “Runnin’ Down A Dream.”

Source: https://www.turntablekitchen.com/2018/10/pains-of-being-pure-at-heart-tom-petty-tribute/

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sunwisher-blog · 6 years ago

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Ellis Paul – The World Ain’t Slowin Down

Call 1-855-637-4055 for our Psychic line as low as 66¢/min About Ellis Paul: Ellis Paul (born Paul Plissey; January 14, 1965) is an American singer-songwriter and folk musician. Born in Aroostook County, Maine, Ellis Paul is a key figure in what has become known as the Boston school of songwriting, a literate, provocative and urbanely romantic folk-pop style that helped ignite the folk revival of the 1990s. His pop music songs have appeared in movies and on television, bridging the gap between the modern folk sound and the populist traditions of Woody Guthrie and Pete Seeger. Boston radio included a classic hits station that played the music of Bob Dylan, Joni Mitchell, Neil Young and James Taylor; artists who were mostly unfamiliar to Paul. Having grown up in a small town in Maine, Ellis Paul attended Boston College on a track scholarship where he majored in English. An athletic injury sustained during his junior year changed the course of his professional career. Ellis Paul picked up a guitar to pass the time while sidelined, and discovered that playing guitar and writing songs was the creative outlet he had been looking for. After graduating from college he began playing at open mic nights in the Boston area while working with inner-city school children. Ellis Paul‘s growing popularity at Boston coffeehouses, coupled with winning a Boston Acoustic Underground songwriter competition and national exposure on a Windham Hill Records compilation combined to give him the confidence to resign his day-job and pursue a career as a professional musician. Paul’s tattoo of Woody Guthrie resulted in a chance meeting with Nora Guthrie, Woody Guthrie’s daughter, at a Folk Alliance Conference when Nora asked to see Paul’s tattoo. That chance meeting resulted in Paul being invited to perform at a Woody Guthrie tribute show at the Rock and Roll Hall of Fame in Cleveland, Ohio. The 10-day celebration, held in September 1996, included other notable musicians such as Bruce Springsteen, Billy Bragg, The Indigo Girls and Ani DiFranco. Highlights of the year 2000 included Paul singing the National Anthem at Fenway Park, and having his song “The World Ain’t Slowing Down” chosen for the theme song in the Farrelly brothers movie Me, Myself and Irene starring Jim Carrey and Renée Zellweger. lyrics: I found you sitting on a suitcase crying Beneath my feet I feel the rumble of a subway train And I laugh out loud Cause it’s the one thing I hadn’t been trying The train came in breathless The passenger’s restless You say, “Baby, you’ll never change” You gotta get gone You gotta get going Hey, the world ain’t slowin’ down For no one It’s a carnival calling out to you And it sounds like a song It hits you like scripture You paint the picture With colors squeezed from your hand Weren’t you the kid Who just climbed on a merry-go-round Hey, look, the world ain’t slowin’ down Out on the sidewalk The pigeons do the moonwalk I’ll be dancing like Fred Astaire The lampposts are rockin’ The whole town is talking Like a fool in a barber’s chair And I get the sensation It’s joy and frustration Like getting caught by a drop of cold rain Freedom can numb you When there’s no place to run to It feels just like Novocain You packed up all your handbags You’re throwing off the sandbags I let go when you stepped free I didn’t want to lose you You said, “You didn’t choose to — It’s just how your karma came” But thanks for the vision, And the twenty-twenty wisdom It hit me like a south-bound train Click here to return to positive music list Read the full article

#EllisPaul #positivemusic #TheWorldAin’tSlowinDown

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redcarpetview · 6 years ago

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Little Big Town To Host 2019 MusiCares Person Of The Year Tribute Honoring Dolly Parton

Paul Drinkwater/NBC/NBCU Photo Bank via Getty Images Dolly Parton performs in 2015.

LITTLE BIG TOWN TO HOST 2019 MUSICARES® PERSON OF THE YEAR TRIBUTE HONORING DOLLY PARTON

YOLANDA ADAMS, JON BATISTE, CAM, BRANDI CARLILE, JENNIFER NETTLES, AND MARGO PRICE ANNOUNCED AS ADDITIONAL PERFORMERS

ANNUAL TRIBUTE BENEFITING MUSICARES® AND ITS VITAL SAFETY NET OF HEALTH AND HUMAN SERVICES PROGRAMS FOR MUSIC PEOPLE TO BE HELD IN LOS ANGELES DURING GRAMMY® WEEK ON FRIDAY, FEB. 8, 2019

Multi-GRAMMY®-winning artists and current GRAMMY nominees Karen Fairchild, Kimberly Schlapman, Phillip Sweet, and Jimi Westbrook of Little Big Town have been announced as hosts of the 2019 MusiCares® Person of the Year tribute concert honoring Dolly Parton on Feb. 8. GRAMMY winner Yolanda Adams, current GRAMMY nominee Jon Batiste, past GRAMMY nominee Cam, current GRAMMY nominee Brandi Carlile, GRAMMY winner Jennifer Nettles, and current GRAMMY nominee Margo Price will join the performance lineup at the star-studded annual fundraiser for MusiCares, the signature health and human services charity founded by the Recording Academy™. Previously announced performers include Leon Bridges, Garth Brooks & Trisha Yearwood, Miley Cyrus, Lauren Daigle, Vince Gill, Don Henley, Norah Jones, Shawn Mendes, Kacey Musgraves, Willie Nelson, Katy Perry, Linda Perry, P!NK, Mark Ronson, Mavis Staples, and Chris Stapleton. GRAMMY winner Dolly Parton will close the evening's performances. Greg Phillinganes will be the musical director.

Attendees will include Neil Portnow, President/CEO of MusiCares and the Recording Academy; Michael McDonald, Chair of MusiCares; Alexandra Patsavas, Chair Emeritus of MusiCares; and John Branca, Honorary Chair of MusiCares.

Past MusiCares Person of the Year honorees include: Tony Bennett, Bono, Natalie Cole, Phil Collins, David Crosby, Neil Diamond, Bob Dylan, Gloria Estefan, Fleetwood Mac, Aretha Franklin, Don Henley, Billy Joel, Elton John, Quincy Jones, Carole King, Paul McCartney, Luciano Pavarotti, Tom Petty, Bonnie Raitt, Lionel Richie, Paul Simon, Bruce Springsteen, Sting, Barbra Streisand, James Taylor, Brian Wilson, Stevie Wonder, and Neil Young.

Dolly Parton is being recognized as the 2019 MusiCares Person of the Year in recognition of her significant creative accomplishments and longtime support of many charitable causes. Proceeds from the annual Person of the Year tribute—now in its 29th year—provide essential support for MusiCares (www.musicares.org), a charity founded by the Recording Academy that ensures music people have a place to turn in times of financial, medical, and personal need.

The MusiCares Person of the Year tribute is one of the most prestigious events held during GRAMMY Week. The Person of the Year gala will begin with a reception and silent auction offering an exclusive and unparalleled selection of luxury items, VIP experiences, and one-of-a-kind celebrity memorabilia for bidding guests. The reception, along with a silent auction sponsored by Delta Airlines—the official airline of Person of the Year, will be followed by a gala dinner sponsored by AEG; a live auction; a tribute concert featuring renowned musicians and other artists; and the award presentation. For more information, please contact MusiCares at 310.392.3777 or [email protected].

GRAMMY Week culminates with the 61st Annual GRAMMY Awards® at STAPLES Center in Los Angeles on Sunday, Feb. 10, 2019. The telecast will be broadcast live on the CBS Television Network at 8 p.m. ET/5 p.m. PT.

Over the course of the last fiscal year, MusiCares provided more than $6.5 million dollars to approximately 8,600 members of the music industry—the largest number of clients served and dollars distributed in a single year in the charity's history. Established in 1989 by the Recording Academy, MusiCares offers health and human services and programs to members of the music community, including emergency financial assistance for basic living expenses such as rent, utilities, and car payments; medical expenses, including doctor, dentist and hospital bills; and treatment for HIV/AIDS, Parkinson's disease, Alzheimer's disease, hepatitis C, and other critical illnesses. MusiCares offers nationwide educational workshops covering a variety of subjects, including financial, legal, medical, and substance abuse issues, and programs in collaboration with health care professionals that provide services such as flu shots, hearing tests, and medical/dental screenings. MusiCares provides access to addiction recovery treatment and sober living resources for members of the music community. Staffed by qualified chemical dependency and intervention specialists, MusiCares offers Safe Harbor Room® support, sponsored in part by the Bohemian Foundation, to provide a network to those in recovery while they are participating in the production of televised music shows and other major music events. MusiCares holds weekly addiction support groups for people to discuss how to best cope with the issues surrounding the recovery process

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#Music #Events #Dolly Parton #Little Big Town #Naomi Richard #Naomi Jean Richard #naomijrichard #RCV #Red Carpet View #RCVFashion #MusiCares #The Recording Academy #The Grammys #61st grammy awards #grammyawards #grammyawards2019

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mrjeremydylan · 8 years ago

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My Favorite Album #198 - Jack Colwell on Tori Amos ‘Boys for Pele’ (1996)

Sydney singer-songwriter Jack Colwell makes the case for Tori Amos as a transformative figure in pop - a woman who seized her major-label power to create sophisticated adult pop music, bridging the divide between classical and pop, creating a unique sound and exploring her complicated relationship with her religious upbringing and femininity.

Listen in the player above or download the episode by clicking here.

Subscribe to the podcast in iTunes here or in other podcasting apps by copying/pasting our RSS feed - http://myfavoritealbum.libsyn.com/rss My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album’s influence on their own music. Jeremy Dylan is a filmmaker, journalist and photographer from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos.

If you’ve got any feedback or suggestions, drop us a line at [email protected].

LINKS

- Jack Colwell on Facebook, Twitter, Instagram and iTunes.

- Buy ‘Boys for Pele’ here.

- Jeremy Dylan’s website, Twitter, Instagram and Facebook page.

- Like the podcast on Facebook here.

- If you dig the show, please leave a rating or review of the show on iTunes here.

CHECK OUT OUR OTHER EPISODES

197. Benmont Tench on playing with Bob Dylan, Jenny Lewis and Ryan Adams and the worst advice he’s received 196. Ella Thompson (Dorsal Fins, GL) on Renee Geyer ‘Moving On’ 195. The Shires on Lady Antebellum ‘Own the Night’ (2011) 194. Duglas T Stewart (BMX Bandits) on Beach Boys ‘Love You’ (1977) 193. Dan Soder on Queens of the Stone Age ‘Like Clockwork’ (2013) 192. Kingswood on The Beatles ‘Magical Mystery Tour’ (1967) 191. Comedian Becky Lucas on Michael Jackson ‘Bad’ (1987) 190. PVT on Brian Eno ‘Another Green World’ (1975) 189. Middle Kids on My Brightest Diamond ‘Bring Me The Workhorse’ (2006) 188. The Bitter Script Reader on Tom Hanks ‘That Thing You Do’ (1996) 187. Carly Rae Jepsen ‘Emotion’ (2015) with CRJ Dream Team Roundtable 186. Sarah Belkner on Peter Gabriel ‘So’ (1986) 185. Mark Hart (Crowded House, Supertramp) on XTC ‘Drums and Wires’ (1979) 184. Emma Swift on Marianne Faithfull ‘Broken English’ (1974) 183. Owen Rabbit on Kate Bush ‘Hounds of Love’ (1985) 182. Robyn Hitchcock on Bob Dylan ‘Blonde on Blonde’ (1966) 181. Dave Mudie (Courtney Barnett) on Nirvana ‘Nevermind’ (1991) 180. Brian Koppelman on Bruce Springsteen ‘Nebraska’ (1982) 179. Nicholas Allbrook (POND) on OutKast ‘The Love Below’ (2003) 178. 2016 in Review: What the hell? ft Jeff Greenstein, Rob Draper & Cookin on 3 Burners, Melody Pool, Lisa Mitchell, Emma Swift, Brian Koppelman, Mark Hart (Crowded House), Davey Lane and Alex Lahey 177. Harper Simon on The Beatles ‘White Album’ (1968) 176. Andrew P Street on Models ‘Pleasure of Your Company’ (1983) 175. Matt Farley (Motern Media) on why The Beach Boys ‘Love You’ is better than ‘Pet Sounds’ 174. Lisa Mitchell on Regina Spektor ‘Begin to Hope’ (2006) and her favorite albums of 2016 173. Peter Bibby on Sleep ‘Dopesmoker’ (2003) 172. Slate’s Jack Hamilton on Stevie Wonder ‘Innervisions’ (1973) 171. Showrunner Blake Masters on Drive-By Truckers ‘The Dirty South’ (2004) 170. Taylor Goldsmith (Dawes) on on their new album ‘We’re All Gonna Die’, loving LA and the albums that inspire him 169. Sadler Vaden on The Rolling Stones ‘Goats Head Soup’ (1973) 168. Guy Clark biographer Tamara Saviano on ‘Dublin Blues’, Guy’s songwriting process and his musical legacy 167. What does Trump mean for music? 166. A Tribute to Sir George Martin, The Fifth Beatle with Davey Lane and Brett Wolfie 165. John Oates on Joni Mitchell ‘Blue’ (1971) 164. Jimmy Vivino on the birth of the Max Weinberg 7, his relationship with Conan O’Brien, country music and the future of rock’n’roll 163. DJ Alix Brown on Transformer (1972) by Lou Reed 162. Taylor Locke on Doolittle (1989) by the Pixies, the album that inspired 90s alt-rock 161. Harts on Around the World in a Day (1985) by Prince and jamming with Prince at Paisley Park 160. Mark McKinnon (The Circus) on Kristofferson and programming the President’s iPod 159. Alan Brough on A Walk Across the Rooftops (1984) by The Blue Nile 158. 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Danny Clinch on Greetings from Ashbury Park NJ by Bruce Springsteen 126. Sam Palladio (Nashville) on October Road by James Taylor 125. Steve Mandel on Blood and Chocolate by Elvis Costello 124. Brian Koppelman on The History of the Eagles 123. Benmont Tench on Beggars Banquet by the Rolling Stones 122. Jimmy Vivino (Basic Cable Band) on Super Session by Al Kooper, Mike Bloomfield and Stephen Stills 121. Holiday Sidewinder on Pat Garrett & Billy the Kid by Bob Dylan 120. Ben Blacker on Aladdin Sane by David Bowie 119. EZTV on The Toms by The Toms 118. Jess Ribeiro on Transformer by Lou Reed 117. Whitney Rose on Keith Whitley Greatest Hits 116. Best Albums of 2015 with Danny Yau ft. Jason Isbell, Dan Kelly, Shane Nicholson, Tim Rogers, Will Hoge and Julien Barbagallo (Tame Impala) 115. Phil Spector’s A Christmas Gift For You with Jaime Lewis 114. Xmas Music ft. Kristian Bush, Lee Brice, Corb Lund and Tim Byron 113. Sam Outlaw on Pieces of the Sky by Emmylou Harris 112. 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Dan Kelly on There’s A Riot Goin’ On by Sly and the Family Stone 95. Ash Grunwald on Mule Variations by Tom Waits 94. Stella Angelico on The Shangrilas 93. Eves the Behavior on Blue by Joni Mitchell 92. Troy Cassar-Daley on Willie Nelson’s Greatest Hits 91. Lydia Loveless on Pleased to Meet Me by the Replacements 90. Gena Rose Bruce on The Boatman’s Call by Nick Cave 89. Kitty Daisy and Lewis on A Swingin’ Safari by Bert Kaempfert 88. Will Hoge on Modern Sounds in Country & Western Music by Ray Charles 87. Shane Nicholson on 52nd St by Billy Joel 86 - Tired Lion on Takk… by Sigur Ros 85 - Whispering Bob Harris on Forever Changes by Love 84 - Jake Stone (Bluejuice) on Ben Folds Five by Ben Folds Five 83 - Pete Thomas (Elvis Costello and the Imposters) on Are You Experienced? by the Jimi Hendrix Experience 82 - Dom Alessio on OK Computer by Radiohead 81 - Anthony Albanese MP on The Good Son by Nick Cave and the Bad Seeds 80 - John Waters on Electric Ladyland by The Jimi Hendrix Experience 79 - Jim DeRogatis (Sound Opinions) on Clouds Taste Metallic by The Flaming Lips 78 - Montaigne on The Haunted Man by Bat for Lashes 77 - Guy Pratt (Pink Floyd) on Quadrophenia by The Who 76 - Homer Steinweiss (Dap Kings) on Inspiration Information by Shuggie Otis 75 - Best of 2015 (So Far) ft. 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Danny Yau, Andrew Hansen, Gideon Bensen (The Preatures) and Mike Carr 36 - Doug Pettibone on Wrecking Ball by Emmylou Harris 35 - Ross Ryan on Late for the Sky by Jackson Browne 34 - Michael Carpenter on Hard Promises by Tom Petty & the Heartbreakers 33 - Davey Lane (You Am I) on Jesus of Cool by Nick Lowe 32 - Zane Carney on Smokin’ at the Half Note by Wes Montgomery 31 - Tony Buchen on Sgt Pepper’s Lonely Hearts Club Band by The Beatles 30 - Simon Relf (The Tambourine Girls) on On the Beach by Neil Young 29 - Peter Cooper on In Search of a Song by Tom T Hall 28 - Thelma Plum on Stolen Apples by Paul Kelly 27 - James House on Rubber Soul by the Beatles 26 - Ella Hooper on Let England Shake by PJ Harvey 25 - Abbey Road Special 24 - Alyssa Bonagura on Room for Squares by John Mayer 23 - Luke Davison (The Preatures) on Green Onions by Booker T and the MGs 22 - Neil Finn on Hunky Dory by David Bowie and In Rainbows by Radiohead 21 - Neil Finn on Beatles for Sale by the Beatles and After the Goldrush by Neil Young 20 - Morgan Evans on Diorama by Silverchair 19 - Emma Swift on Car Wheels On A Gravel Road by Lucinda Williams 18 - Danny Yau on Hourly Daily by You Am I 17 - J Robert Youngtown and Jon Auer (The Posies) on Hi Fi Way by You Am I 16 - Lester the Fierce on Hounds of Love by Kate Bush 15 - Luke Davison on Green Onions by Booker T and the MGs 14 - Jeff Cripps on Wheels of Fire by Cream 13 - Mark Holden on Blue by Joni Mitchell (Part 2) 12 - Mark Holden on Blue by Joni Mitchell (Part 1) 11 - Gossling on O by Damien Rice 10 - Matt Fell on Temple of Low Men by Crowded House 9 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 2) 8 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 1) 7 - Sam Hawksley on A Few Small Repairs by Shawn Colvin 6 - Jim Lauderdale on Grievous Angel by Gram Parsons 5 - Mark Moffatt on Blues Breakers by John Mayall and Eric Clapton 4 - Darren Carr on Ten Easy Pieces by Jimmy Webb 3 - Mark Wells on Revolver by The Beatles 2 - Mike Carr on Arrival by ABBA 1 - Rob Draper on Highway 61 Revisited by Bob Dylan

#podcast #jack colwell #tori amos #y kant tori read #religion #cornwall #bjork #pj harvey #fiona apple

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dustedmagazine · 8 years ago

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Joseph Burnett: 2016 in review

2016, you shan’t be missed. Thus far, most year-end round-ups outside of Breitbart and whatever equivalent we have for Der Stürmer these days (er, Breitbart?) have lamented the hideous direction the world has taken over the last 12 months. They’ve reeled off a list of lost artistic heroes that suggests whomever has taken up the job of ferrying the dead over the Styx once failed an audition to be harpist for Zeus and has a Manson-esque grudge against the talented as a result. So, whilst I can’t not mention the trauma of losing Bowie, Prince, Pauline Oliveros, two-thirds of ELP, Victoria Wood, Alan Rickman, Leonard Cohen, Andrzej Wajda, Dale Griffin of Mott the Hoople and my personal most harrowing Tony Conrad, like the shameful Brexit vote and baffling Trump triumph, I’d rather not dwell on these matters. The three letters “R.I.P.” convey more than I ever could. And I mean “R.I.P. humanity,” not just those individuals mentioned above. Actually, fuck you, 2016.

So yeah, war, a refugee crisis, prejudice, nationalism and dead artists dominated 2016, but there was music too, and some of it was outstanding (as was a film that for me was the most important made in the UK for over a decade: I, Daniel Blake). Sadly, two stand-out albums from 2016 came from artists who departed this mortal coil not long afterwards: David Bowie’s Blackstar and Pauline Oliveros’ duo album with another casualty of 2016, Connie Crothers, First Meeting Still Sounding. The latter was only released as a tribute to pianist Crothers and tragically became one for Oliveros as well. It’s a wondrous meeting of two expansive and forward-thinking talents and a fitting farewell from both. As, in a rather different way, was Blackstar. I only heard the album after David Bowie had joined the ever-growing list of departed icons, so it seems impossible to divorce it from his passing, especially the wonderful “Lazarus.” But in addition being a farewell from an artist who had a profound impact on my life, it’s his most solid and musically coherent album in about two decades, benefitting notably from a gorgeous jazz-inflected production. An additional shout out must go to Leonard Cohen’s You Want it Darker, a bleak, introspective collection of songs that also sees an artist in the twilight of his existence reflecting on that stark reality.

The legendary ECM Records had something of a bumper year to please admirers of their particular stylistic production and jazz fans as a whole. Wadada Leo Smith —whose colossal America’s National Parks was another highlight— teamed up with Vijay Iyer for the quietly spectacular A Cosmic Rhythm with Every Stroke, Golfam Khayam and Mona Matbou Riahi produced an undoubted masterpiece in Narrante, and Jack deJohnette bridged past and present on his delightful In Movement to deliver an achingly poignant reflection on the travails of African-Americans as they face racism and policemen’s guns. Special mention also to Theo Bleckmann, Carla Bley, Wolfert Brederode, Tigran Hamasyan and Ches Smith for their own masterful releases on ECM. Sarathy Korwar produced an intriguing post-jazz exercise in the form of Day to Day on NinjaTune, and beyond the specific realm of jazz the field of experimental music continues to throw up exciting and challenging works even in these straightened times, with composer Ben Johnston, Graham Lambkin, Cindytalk, Rhodri Davies and Richard Dawson’s Hen Ogledd and Oren Ambarchi all making it into my top 30 list. And I can’t not mention the wondrous drone works of Catherine Christer Hennix (both archival and new), Yves Tumor’s fractured pop or Gary Mundy’s expansively beautiful noise experiments in his solo incarnation as Kleistwahr.

But, and this is purely on a personal level, electronic music delivered the most consistently exciting music of the year. In the UK, producers continue to probe where we go after dubstep and its quasi-punk levelling of form, something most notable in Kuedo’s Slow Knife, which may just have provided us with a clear run into the future. Meanwhile, many a British producer continued to delve into the hidden interstices of reality, as evidenced by Demdike Stare’s weird meshing of harsh techno and dub, the amalgamation of dark poetry and brittle electronica of eMMplekz, Pye Corner Audio’s horror-sci-fi dance and the sepulchral ambient techno of Andy Stott. And what to make of Dean Blunt’s sardonic take on Brexit Britain as Babyfather? His oblique but piercing political stance found an echo across the pond with Fatima Al Qadiri’s Brute, and even — away from electronica per se — Frank Ocean’s magnificent follow up to Color Orange, Blonde. But it’s impossible to look past Grumbling Fur and Furfour as the most perfect album of the year. Going beyond the promise of their past releases, Daniel O’Sullivan and Alexander Tucker elevated pop song into the most enthralling medium of expressing both joy and mystery, transcending dance, avant-garde, folk and hauntology in the process.

It’s perhaps not surprising that in this fractured world we find comfort in the folk expressions of specific locations. The aforementioned Golfam Khayam and Mona Matbou Riahi took the exotic folk of their native Iran and spliced it with European avant-garde, whilst Aşıq Nargilə delivered an intoxicating aperçu of Georgian and Azeri troubadour music with a live set from London’s Café Oto, superbly preserved on vinyl by the diligent peeps of the venue themselves. Closer to home (well mine), Laura Cannell continues to sketch and sublimate the landscapes of England’s East Anglia via her recorders and fiddle. Also plundering and resurrecting the traditions of the UK’s hidden reverse is the Folklore Tapes label, a wonderful combination of record company and research project whose founders Ian Humberstone and David Chatton Barker have dedicated the last five or so years to resurrecting forgotten traditions of the land of my birth, in musical form. In 2016, two reissues of their Devon series (for those unfamiliar with UK geography, Devon is one of our wildest and most historically deep counties) and a new set of music inspired by the Black Dog mythology of England, crystallized Folklore Tapes as a singularly important, even crucial, vehicle for the preservation of some of the most fragile collective memories in Britain.

If 2016 severed us so painfully from so many greats, I want to end by saluting two veterans who refuse to give up the ghost. Neil Young has slipped down the ranks of the intelligentsia’s appraisals when it comes to singer-songwriters, I think because he has traded in abstraction for visceral, sometimes slap-dashed and clumsy, invective. But fuck it, I wish more of our younger artists had his passion and anger, because we need it more than ever. Peace Trail is not some grand return to seventies form, but it’s important, often beautiful, and contains one of his best songs in a while in the title track. I’m glad he’s still out there. More impressive and welcome perhaps, however, was the return of Shirley Collins after a studio silence of no less than 38 years. At 81, her voice is more frail and strained than in her Love, Death and the Lady heyday, but rather than being a weakness, it only adds to the spectral beauty and gravitas of Lodestar. In such turbulent times, knowing Shirley Collins is out there, producing such incredible music and shining through the night with her humanity, is a real comfort.

So yeah, fuck 2016 and fingers crossed 2017 won’t be such a bummer. Now forgive me whilst I reach for my copies of Lodestar and Furfour and hope that when I open my eyes the world will be gone...

Grumbling Fur — Furfour (Thrill Jockey)

Golfam Khayam & Mona Matbou Riahi — Narrante (ECM)

Catherine Christer Hennix — Live at Issue Project Room (Important)

Yves Tumor — Serpent Music (PAN)

Andy Stott — Too Many Voices (Modern Love)

Shirley Collins — Lodestar (Domino)

Kuedo — Slow Knife (Planet Mu)

Pye Corner Audio — Stasis (Ghost Box)

Vijay Iyer & Wadada Leo Smith — A Cosmic Rhythm with Each Stroke (ECM)

Demdike Stare — Wonderland (Modern Love)

Aşıq Nargilə — Yurt Yeri (OtoRoku)

Kepler Quartet/Ben Johnston — String Quartets Nos 6, 7 & 8 (New World)

Laura Cannell — Simultaneous Flight Movement (Brawl)

Jenny Hval — Blood Bitch (Sacred Bones)

Frank Ocean — Blonde (Def Jam)

Babyfather — BBF Hosted by DJ Escrow (Hyperdub)

eMMplekz — Rook to TN34 (Mordant Music)

Kleistwahr — Over Your Heads Forever (Fourth Dimension)

Jack deJohnette — In Movement (ECM)

David Bowie — Blackstar (Sony/Columbia)

Fatima Al Qadiri — Brute (Hyperdub)

Graham Lambkin — Community (Kye)

Gate — Saturday Night Fever (MIE Music)

Cindytalk — The Labyrinth of the Straight Line (Editions Mego)

Pauline Oliveros & Connie Crothers — First Meeting Still Sounding (Important)

Tongues of Light — Channelled Messages at the End of History (Pre—Cert Home Entertainment)

Ian Humberstone — Folklore Tapes Occultural Creatures Vol.1: Black Dog Traditions of England (Folklore Tapes)

Oren Ambarchi — Hubris (Editions Mego)

Hen Ogledd — Bronze (alt.vinyl)

Neil Young — Peace Trail (Warner Reprise)

Archive & reissue

LaMonte Young & Marian Zazeela — The Theatre of Eternal Music: Dream House 78’17” (Les Série Shandar)

AMM — AMMMusic (Black Truffle)

Magpahi/Paper Dollhouse — Devon Folklore Tapes Vol.IV: Rituals & Practices (Folklore Tapes)

This Heat — This Heat / Deceit (Light in the Attic)

Catherine Christer Hennix — Central Palace Music from 100 Model Subjects For Hegikan Roku (Important)

Awalom Gebremariam — Desdes (Awesome Tapes from Africa)

Dean McPhee / Mary Arches — Devon Folklore Tapes Vol.V: Ornithology (Folklore Tapes)

Ragnar Johnson assisted by Jessica Mayer — Sacred Flute Music from New Guinea (Ideologic Organ)

Harry Bertoia — Sonambient (Important)

Yoshi Wada — Off the Wall (Important)

Best tracks

Frank Ocean: “Nikes”

David Bowie: “Lazarus”

Grumbling Fur: “Acid Ali Khan”

Kuedo: “In Your Sleep”

Neil Young: “Peace Trail”

Leonard Cohen: “You Want it Darker”

Shirley Collins: “Awake Awake /The Split Ash Tree / May Carol / Southover”

eMMplekz: “Britain’s Go Talon”

Anohni: “Drone Bomb Me”

Yves Tumor: “The Feeling When You Walk Away”

#joseph burnett #year-end 2016 #grumbling fur #Golfam Khayam & Mona Matbou #Catherine Christer Hennix #Yves Tumor #Andy Stott #Shirley Collins #Kuedo #Pye Corner Audio #Vijay Iyer & Wadada Leo Smith #Demdike Stare #frank ocean #david bowie #year end 2016

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