#john calvin abney

[weekly-entropy]

This gem came from the 'Discover Weekly' Spotify playlist.

[americanahighways]

Show Review: Drive-By Truckers with Margo Cilker and John Calvin Abney

Show Review: Drive-By Truckers with Margo Cilker and John Calvin Abney @drivebytruckers @margocilker @johncalvinabney @DaveNowels #americanamusic #americanahighways #livemusicphotography #concertphotography @theJonesOKC

[musiconspotify]

John Calvin Abney

Tourist (2022) … compelling …

#JohnCalvinAbney

[thebowerypresents]

John Moreland Fills Music Hall of Williamsburg with Heartbreak

John Moreland – Music Hall of Williamsburg – February 23, 2022

When it comes to heartbreaking songs from the heartland, no one is penning and singing them right now better than singer-songwriter John Moreland. Hailing from Tulsa, Okla., he wears his home state not on his sleeve but tattooed across his fingers, pulling out guitar songs that echo back generations, burned from his own soul. Moreland played to an impressively cross-generational audience on Wednesday night at Music Hall of Williamsburg, joined by lead guitarist John Calvin Abney for all but three songs.

It's impressive just how much two guitars and Moreland’s voice could fill the room, their sound so often demanding reverence that they played to an awed audience, completely still and silent. “In Times Between” swung so wildly with its dynamics, swelling into a loud plea until being left with just Moreland’s baritone to sing, “The love we knew so well was barely hanging on a string.” Backed by beautifully unfolding guitar slides from Abney, Moreland’s vocals and songwriting were always the star. He’s able to pull out a voice deep from within, and despite some grit in his baritone, it never quite cracked where you’d expect.

“OK, boys sound good,” yelled someone in the audience at one point, overly excited and out of the blue from an otherwise mellow crowd. “Just doin’ my best,” replied Moreland, calm and cool while tuning his guitar. He was left on his own to perform three of his most personal songs, “No Glory in Regret,” the heartsick beauty “You Don’t Care for Me Enough to Cry” and a crowd favorite, “Hang Me in the Tulsa County Stars.” For a stretch of the show, there was a silver-haired man upstairs with his head on his arms resting on the balcony’s banister, looking down on the stage in awe. It’s always a joy to see older kin in admiration of something, and Moreland hearkens back to such an American songwriting tradition that seeing him perform does feel like a passing of the folk-singer-songwriter torch. It’s a torch that finds light in despair and puts music to the anguish that comes along with wholeheartedly confronting this imperfect world. —Dan Rickershauser | @D4nRicks

Photo courtesy of Dan Rickershauser | @D4nRicks

[linernotesandseasons]

“I got years worth of work & I'm running low on tools... I've been worshiping the words of weary worn out fools...”

[bolachasgratis]

Bolachas Now Playing, a new music Spotify playlist updated every Tuesday. 

T. Hardy Morris headlines our 150th playlist! The Dead Confederate frontman has a new album out on New West Records. Make sure you give it a go. Plus: new songs by John Calvin Abney, Dawes, Great Lake Swimmers, Israel Nash, Amanda Shires, Low, Stuart A. Staples, Saintseneca, Wilder Maker, Sean Henry, gobbinjr, Steady Holiday, Tomberlin, Tony Molina, Jeffrey Foucault, and The Milk Carton Kids.

Bolachas Now Playing, 23/2018 (#150): 

John Calvin Abney - Always Enough Dawes - My Greatest Invention T. Hardy Morris - Purple House Blues T. Hardy Morris - NY Great Lake Swimmers - Alone but Not Alone Israel Nash - Lucky Ones Amanda Shires - Eve's Daughter Low - Dancing and Blood Stuart A. Staples - A New Real Saintseneca - Frostbiter Wilder Maker - Impossible Summer Sean Henry - Imperfection gobbinjr - sorry Charlie Steady Holiday - Nobody's Watching Tomberlin - Seventeen Tony Molina - Wrong Town Jeffrey Foucault - Pretty Hands The Milk Carton Kids - I've Been Loving You

[sinceileftyoublog]

John Moreland Live Show Review: 4/6, Evanston SPACE

BY JORDAN MAINZER

“My callouses are coming back,” said John Moreland, playing his 2nd show in 5 months. His first was only a couple hours earlier, his back-to-back sets at SPACE the start of small batches of mini-tours and festival dates over the next few months. The last time we saw him, he had just released what’s still his most recent album, Big Bad Luv. So whereas that show emphasized his recent material, this one felt like a greatest hits set, and Moreland’s performance showed he’s worthy of such retrospection. He opened with what’s still his best song, “Cherokee”, following it up with soul-crushing Luv standout “Old Wounds”. The first two saw him and multi-instrumentalist John Calvin Abney on acoustic guitar; Abney branched out to harmonica on “Losing Sleep Tonight”, harmonica and electric guitar on “Oh Julia”, keys on “Slow Down Easy”. 

Moreland and Abney continued to have unmatched chemistry; later in the set, Moreland quipped that they tried to have band practice before this but ended up just making hip hop beats. Clearly, they just picked up where they left off, chugging away at a decently sized setlist with minimal banter and expert playing. Moreland as usual played a few songs solo, including the stark “You Don’t Care for Me Enough to Cry” and “No Glory in Regret”, before the two reunited for a raucous “Salisaw Blue”, a moving “American Flags in Black and White”, and destitute “3:59 A.M.” More than ever, Moreland proved himself able to inhabit many characters, past lives, and moods, armed with just a guitar, a rasp, and an old pal.

[365spins-blog]

1-4-2019 - Today I listened to Vice Versa Suite by one of my favorite people, John Calvin Abney on beautiful blue splatter 10″ vinyl. 

[mce-photography]

Frog Pond Sunday Social - 3.26.17 - Silverhill, AL 

[lesravageurs]

Ravageurs find a way out. | John Calvin Abney - Way out

[shadowfromthestarlight]

Isaac Watts (1674-1748) Appreciation Post

I read up on the brilliant hymnwriter whose songs we still sing today, even though we usually don’t know who wrote them!

The Wikipedia description of his background:

Watts was born in Southampton, Hampshire, England, in 1674 and was brought up in the home of a committed religious nonconformist; his father, also Isaac Watts, had been incarcerated twice for his views. Watts had a classical education at King Edward VI School, Southampton, learning Latin, Greek, and Hebrew.

Watts displayed a propensity for rhyme from an early age. He was once asked why he had his eyes open during prayers, to which he responded:

A little mouse for want of stairs ran up a rope to say its prayers.

He received corporal punishment for this, to which he cried:

O father, father, pity take And I will no more verses make.

Watts could not attend Oxford or Cambridge because he was a nonconformist and these universities were restricted to Anglicans—as were government positions at the time. He went to the Dissenting Academy at Stoke Newington in 1690. Much of the remainder of his life centred on that village, which is now part of Inner London.

Following his education, Watts was called as pastor of a large independent chapel in London, Mark Lane Congregational Chapel, where he helped train preachers, despite his poor health. He held religious opinions that were more nondenominational or ecumenical than was common for a nonconformist Congregationalist. He had a greater interest in promoting education and scholarship than preaching for any particular sect.

Watts took work as a private tutor and lived with the nonconformist Hartopp family at Fleetwood House on Church Street in Stoke Newington. Through them, he became acquainted with their immediate neighbours Sir Thomas Abney and Lady Mary. He eventually lived for a total of 36 years in the Abney household, most of the time at Abney House, their second residence. (Lady Mary had inherited the manor of Stoke Newington in 1701 from her late brother Thomas Gunston.)

On the death of Sir Thomas Abney in 1722, his widow Lady Mary and her unmarried daughter Elizabeth moved all her household to Abney House from Hertfordshire, and she invited Watts to continue with them. He particularly enjoyed the grounds at Abney Park, which Lady Mary planted with two elm walks leading down to an island heronry in the Hackney Brook, and he often sought inspiration there for the many books and hymns that he wrote.

Watts lived at Abney Hall in Stoke Newington until his death in 1748; he was buried in Bunhill Fields. He left an extensive legacy of hymns, treatises, educational works, and essays. His work was influential amongst nonconformist independents and religious revivalists of the 18th century, such as Philip Doddridge, who dedicated his best-known work to Watts.

The title page of Isaac Watts' "Guide to Prayer", fourth edition, 1725

Sacred music scholars Stephen Marini, Denny Prutow and Michael LeFebvre describe the ways in which Watts contributed to English hymnody and the previous tradition of the Church. Watts led the change in practice by including new poetry for "original songs of Christian experience" to be used in worship, according to Marini.The older tradition was based on the poetry of the Bible: the Psalms. According to LeFebvre, Psalms had been sung by God's people from the time of King David, who with a large staff over many years assembled the complete book of Psalms in a form appropriate for singing (by the Levites, during Temple sacrifices at the time). The practice of singing Psalms in worship was continued by Biblical command in the New Testament Church from its beginnings in Acts through the time of Watts, as documented by Prutow. The teachings of 16th-century Reformation leaders such as John Calvin, who translated the Psalms in the vernacular for congregational singing, followed this historic worship practice. Watts was not the first Protestant to promote the singing of hymns; however, his prolific hymn writing helped usher in a new era of English worship as many other poets followed in his path.

Watts also introduced a new way of rendering the Psalms in verse for church services, proposing that they be adapted for hymns with a specifically Christian perspective. As Watts put it in the title of his 1719 metrical Psalter, the Psalms should be "imitated in the language of the New Testament." Besides writing hymns, Isaac Watts was also a theologian and logician, writing books and essays on these subjects.

From the Christianity Today article:

Young Isaac showed genius early. He was learning Latin by age 4, Greek at 9, French (which he took up to converse with his refugee neighbors) at 11, and Hebrew at 13. Several wealthy townspeople offered to pay for his university education at Oxford or Cambridge, which would have led him into Anglican ministry. Isaac refused and at 16 went to London to study at a leading Nonconformist academy. Upon graduation, he spent five years as a private tutor.

In 1702 he became pastor of London's Mark Lane Independent (i.e. Congregational) Chapel, then one of the city's most influential independent churches. But the following year, he began suffering from psychiatric illness that would plague him for the rest of his life. He had to pass off more and more of his work to his assistant and eventually resigned in 1712.

Though German Lutherans had been singing hymns for 100 years, John Calvin had urged his followers to sing only metrical psalms; English Protestants had followed Calvin's lead.

Watts's 1707 publication of Hymns and Spiritual Songs technically wasn't a collection of hymns or metrical psalms, but it was a collection of consequence. In fact, it contained what would become some of the most popular English hymns of all time, such as "When I Survey the Wondrous Cross."

Watts didn't reject metrical psalms; he simply wanted to see them more impassioned. "They ought to be translated in such a manner as we have reason to believe David would have composed them if he had lived in our day," he wrote. Psalms of David Imitated in the Language of the New Testament followed in 1719.

Many of his English colleagues couldn't recognize these translations. How could "Joy to the World" really be Psalm 98? Or "Jesus Shall Reign Where'er the Sun" be Psalm 72>, or "O God Our Help in Ages Past" be Psalm 90?

Watts was unapologetic, arguing that he deliberately omitted several psalms and large parts of others, keeping portions "as might easily and naturally be accommodated to the various occasions of Christian life, or at least might afford us some beautiful allusions to Christian affairs." Furthermore, where the psalmist fought with personal enemies, Watts turned the biblical invective against spiritual adversaries: sin, Satan, and temptation. Finally, he said, "Where the flights of his faith and love are sublime, I have often sunk the expressions within the reach of an ordinary Christian."

Such looseness brought criticism. "Christian congregations have shut out divinely inspired psalms and taken in Watts's flights of fancy," protested one detractor. Others dubbed the new songs "Watts's whims."

But after church splits, pastor firings, and other arguments, Watts's paraphrases won out. "He was the first who taught the Dissenters to write and speak like other men, by showing them that elegance might consist with piety," wrote the famed lexicographer (and Watts's contemporary) Samuel Johnson.

More than a poet, however, Watts was also a scholar of wide reputation, especially in his later years. He wrote nearly 30 theological treatises; essays on psychology, astronomy, and philosophy; three volumes of sermons; the first children's hymnal; and a textbook on logic that served as a standard work on the subject for generations.

But his poetry remains his lasting legacy and earned him acclaim on both sides of the Atlantic. Benjamin Franklin published his hymnal, Cotton Mather maintained a long correspondence, and John Wesley acknowledged him as a genius.

Songs he’s known for:

Joy to the World O God Our Help in Ages Past I Sing the Mighty Power of God When I Can Read My Title Clear O God Beyond All Praising

And a lot more can be found here.

[musiconspotify]

John Calvin Abney

John Calvin Abney Far Cries And Close Calls (2016) … there must be something about Tulsa that inspires…

[milliondollarbaby87]

MOTION PICTURES

Outstanding Performance by a Cast in a Motion Picture Parasite

HYAE JIN CHANG / Chung Sook YEO JEONG CHO / Yeon Kyo WOO SHIK CHOI / Ki Woo HYEON JUN JUNG / Da Song ZISO JUNG / Da Hye JUNG EUN LEE / Moon Gwang SUN KYUN LEE / Dong Ik MYUNG HOON PARK / Geun Se SO DAM PARK / Ki Jung KANG HO SONG / Ki Taek

Outstanding Performance by a Male Actor in a Leading Role Joaquin Phoenix, Joker

Outstanding Performance by a Female Actor in a Leading Role Renee Zellweger, Judy

Outstanding Performance by a Male Actor in a Supporting Role Brad Pitt, Once Upon a Time in Hollywood

Outstanding Performance by a Female Actor in a Supporting Role Laura Dern, Marriage Story

TELEVISION Outstanding Performance by an Ensemble in a Drama Series The Crown

MARION BAILEY / Queen Elizabeth the Queen Mother HELENA BONHAM CARTER / Princess Margaret OLIVIA COLMAN / Queen Elizabeth II CHARLES DANCE / Lord Mountbatten BEN DANIELS / Lord Snowdon ERIN DOHERTY / Princess Anne CHARLES EDWARDS / Martin Charteris TOBIAS MENZIES / Prince Philip, Duke of Edinburgh JOSH O’CONNOR / Prince Charles SAM PHILLIPS / Equerry DAVID RINTOUL / Michael Adeane JASON WATKINS / Harold Wilson

Outstanding Performance by an Ensemble in a Comedy Series The Marvelous Mrs. Maisel

CAROLINE AARON / Shirley Maisel ALEX BORSTEIN / Susie Myerson RACHEL BROSNAHAN / Midge Maisel MARIN HINKLE / Rose Weissman STEPHANIE HSU / Mei JOEL JOHNSTONE / Archie Cleary JANE LYNCH / Sophie Lennon LEROY McCLAIN / Shy Baldwin KEVIN POLLAK / Moishe Maisel TONY SHALHOUB / Abe Weissman MATILDA SZYDAGIS / Zelda BRIAN TARANTINA / Jackie MICHAEL ZEGEN / Joel Maisel

Outstanding Performance by a Male Actor in a Drama Series Peter Dinklage, Game of Thrones

Outstanding Performance by a Female Actor in a Drama Series Jennifer Aniston, The Morning Show

Outstanding Performance by a Male Actor in a Comedy Series Tony Shalhoub, The Marvelous Mrs. Maisel

Outstanding Performance by a Female Actor in a Comedy Series Phoebe Waller-Bridge, Fleabag

Outstanding Performance by a Male Actor in a Television Movie or Limited Series Sam Rockwell, Fosse/Verdon

Outstanding Performance by a Female Actor in a Television Movie or Limited Series Michelle Williams, Fosse/Verdon

STUNT ENSEMBLES Outstanding Action Performance by a Stunt Ensemble in a Motion Picture

AVENGERS: ENDGAME Marija Juliette Abney Janeshia Adams-Ginyard George “Gee” Alexander Derek Alfonso Nate Andrade Christopher Antonucci Randy Archer Brandon Arnold Steven S. Atkinson Ben Aycrigg Jennifer Badger Christopher Balualua Danya Bateman Loyd Bateman Kelly Bellini Joanna Bennett Carrie Bernans Felix Betancourt Gianni Biasetti, Jr. Mike Bishop Tamiko Brownlee Troy Butler Jwaundace Candece Marc Canonizado Janene Carleton Elisabeth Carpenter Sean Christopher Carter Kevin Cassidy Hymnson Chan Courtney Chen Anis Cheurfa Fernando Chien Alvin Chon Tye Claybrook, Jr. Marcelle Coletti David Conk John A. Cooper Brandon Cornell Thomas Joseph Culler Jahnel Curfman Gui Da Silva-Greene Chris Daniels Keith Davis Martin De Boer Robbert de Groot Isabella Shai DeBroux Holland Diaz Josh Diogo Jackson Dobies Justin Dobies Cory Dunson Jessica Durham Justin Eaton Jared Eddo Katie Eischen Kiante Elam Jazzy Ellis David Elson Jason Elwood Hanna Tony Falcon Guy Fernandez Mark Fisher Alessandro Folchitto Colin Follenweider Glenn Foster Simeon Freeman Shauna Galligan Monique Ganderton Johnny Gao Jomahl Gildersleve Denisha Gillespie Daniel Graham Ryan Green Carlos Guity Califf Guzman Dante Ha Akihiro Haga Garrett Hammond Lydia Hand Daniel Hargrave Kandis Hargrave Sam Hargrave Regis Andrew Harrington III Thayr Harris Zedric Harris Jimmy Hart Alex Hashioka Zachary Henry Danny Hernandez Mark Hicks Maria Hippolyte Bobby Holland Hanton JT Holt Crystal Hooks Niahlah Hope Damita Howard Justin Howell Jacob Hugghins Lindsay Anne Hugghins Michael Hugghins Tony Hugghins Scott Hunter James Hutchison III Pan Iam CC Ice Sarah Irwin Mami Ito Duke Jackson Michael Jamorski Kirk Jenkins Preshas Jenkins Floyd Anthony Johns Jr. Richard M. King Ralf Koch Khalil La’Marr Matt LaBorde Danny Le Boyer Matt Leonard William Leong Bethany Levy James Lew Marcus Lewis Jefferson Lewis III Eric Linden Scott Loeser Rachel Luttrell-Bateman Adam Lytle Tara Macken Dave Macomber Julia Maggio Ruben Maldonado Richard Marrero Rob Mars Andy Martin Aaron Matthews Tim R. McAdams Taylor McDonald Kyle McLean Crystal Michelle Mark Miscione Heidi Moneymaker Renae Moneymaker Chris Moore Tristen Tyler Morts William Billy Morts Marie Mouroum Spencer Mulligan Travor Murray Jachin JJ Myers Anthony Nanakornpanom John Nania Nikolay Nedyalkov Carl Nespoli Paul O’Connor Marque Ohmes Olufemi Olagoke Noon Orsatti Rowbie Orsatti Jane Oshita Leesa Pate Natasha Paul Gary Peebles Nathaniel Perry Josh Petro Lloyd Pitts George Quinones Taraja Ramsess Greg Rementer Antjuan Rhames Meredith Richardson Bayland Rippenkroeger Ryan Robertson Christopher Cody Robinson Donny Rogers Carrington Christopher Eric Romrell Michelle Rose Corrina Roshea Marvin Ross Elena Sanchez Maya Santandrea Matthew Scheib Erik Schultz Jordan Scott Joshua Russel Seifert Brandon Shaw Bruce Shepperson Joseph Singletary III Tim Sitarz Dominique Smith Dena Sodano Robert D. Souris Jackson Spidell Daniel Stevens Jenel Stevens Diandra Stoddard Milliner Granger Summerset Phedra Syndelle Mark Tearle Hamid-Reza Thompson Tyler J. Tiffany Aaron Toney Amy Lynn Tuttle Tony Vo Todd Warren Kevin Waterman Amber Whelan Aaron Wiggins Joseph Williams Matthew M. Williams Thom Williams Zola Williams Mike Wilson Tyler Witte Michael Yahn James Young Marcus Gene Young Woon Young Park Casey Zeller Keil Zeperni

Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series GAME OF THRONES Boian Anev Mark Archer Kristina Baskett Ferenc Berecz Richard Bradshaw Michael Byrch Andrew Burford Yusuf Chaudhri Nick Chooping Jonathan Cohen David Collom Christopher Cox Jacob Cox Matt Crook Matt Da Silva Levan Doran Dom Dumaresq Daniel Euston Bradley Farmer Pete Ford Vladimir Furdik David Grant Lawrence Hansen Richard Hansen Nicklas Hansson Rob Hayns Lyndon Hellewell Jessica Hooker Gergely Horpacsi Paul Howell Rowley Irlam Erol Ismail Troy Kechington Paul Lowe John Macdonald Leigh Maddern Kai Martin Kim Mcgarrity Carly Michaels Nikita Mitchell Chris Newton David Newton Jason Oettle Bela Orsanyi Ivan Orsanyi Radoslav Parvanov Oleg Podobin Josh Ravenscroft Andrej Riabokon Zach Roberts Doug Robson Stanislav Satko Paul Shapcott Mark Slaughter Sam Stefan Jonny Stockwell Ryan Stuart Gyula Toth Marek Toth Andy Wareham Calvin Warrington Heasman Richard Wheeldon Belle Williams Will Willoughby Leo Woodruff Ben Wright Lewis Young

WINS BY STUDIO Disney – 1 Neon – 1 Netflix – 1 Roadside Attractions/LD Entertainment – 1 Sony Pictures – 1 Warner Bros – 1

WINS BY NETWORK Amazon – 3 FX – 2 HBO – 2 Netflix – 1 Apple – 1

SAG Awards 2020 – Winners MOTION PICTURES Outstanding Performance by a Cast in a Motion Picture Parasite HYAE JIN CHANG / Chung Sook…

[losangeleslovesyou]

JOHN CALVIN ABNEY : WHEN THIS BLOWS OVER

[wordchasing]

It’s not a song I know; I intended to share the song, “Goodbye, Temporarily”, which just played while Jess and I cooked dinner, but then I saw this and clicked the video.  The way he stares straight at the camera, sings in some space between mournful and accepting, the natural bridge stands behind him.  Great big little song.  

He plays with John Moreland.  You should listen to him play there, too.  

[sinceileftyoublog]

John Moreland & Will Johnson Live Show Review: 6/14, Thalia Hall, Chicago

BY JORDAN MAINZER

Over the years, John Moreland has gotten better at toeing the line between unfiltered heart-on-sleeve poetry and composed, yet honest songwriting. During his performance at Thalia Hall last night, it may have been his older songs that elicited the most cheers from die-hard fans, songs before he broke out with 2015′s High on Tulsa Heat. But it was clear that Tulsa Heat songs and especially ones from this year’s great Big Bad Luv were the better ones. Listening to Moreland on record, you know his songs are instrumentally similar, and over a 90-minute set, I realized he picks from an arsenal of images and metaphors. But his clear voice and skilled acoustic guitar playing were more notable, and when he did deliver a line that knocked me on my ass, it elicited cheers from the crowd even greater than from a recognizable riff or melody from a favorite song.

But it mostly helped that Moreland had the multi-talented John Calvin Abney, engineer of High on Tulsa Heat and guitarist/keyboardist on Big Bad Luv, to accompany him. Abney’s harmonica playing on “Sallisaw Blue”, pedal work on “Oh Julia”, and dynamic piano on “Love Is Not An Answer” made this set stand out from your average singer-songwriter churning of the same melodies. Sure, Abney got a little carried away with the effects on the otherwise intimate “Lies I Chose To Believe”, but that didn’t take away from the overall quality of the set. Still, when Moreland played solo or when Abney played very little, the songs had room to breathe, as on “No Glory In Regret” and “Cherokee”. The latter is perhaps Moreland’s best song and was the standout of the night because the music is just as somber--if not even more somber--than the themes. Ironically, in a set filled with songs of varying quality, the best songs let the music do the talking.

Opening for Moreland was Will Johnson, best known for his work in Centro-Matic. Johnson released a solo record called Hatteras Night earlier this year but played a range of material spanning his large discography. He’s got a nice voice--including an impressive if rarely used falsetto--and is a great guitar player but occasionally suffered when he got too close to the mic, his raspy voice sounding a bit muddled, un-enunciated, and affected. His best songs were ones that had a more crisp delivery, like “Scorpion”, or when he was able to compensate with emphatic strumming, as on “Every Single Day of Late” and Jason Molina collaboration “Almost Let You In”. In fact, both Moreland and Johnson have shades of Molina, and Moreland is moving ever closer to finding Molina’s unshakably powerful balance between music and words.