And then you ask me... just to leave you/to set out on my own and get what I needed/You want me to find what I've already had.
Initially I wasn't sure what to expect when I heard that Robert Plant and Allison Krauss were releasing an album together. Led Zeppelin is easily my favorite band ever and it just seemed odd, but really intriguing, that Zeppelin's golden god and the bluegrass beauty would ever be in the same room much less create music together.
As much as Led Zeppelin was a dark, mysterious, and badass rock and roll band, the group had plenty of acoustic songs and a pretty broad sound. And of course my ever-growing interest in bluegrass music (and the "Oh Brother Where Art Thou?" soundtrack) eventually led me to Alison Krauss. Krauss is uber-accomplished as a solo artist, and her band Union Station is full of phenomenal talent, and she easily has one of the most gorgeous voices ever (not to mention being a gifted fiddle player).
So it's obvious that Plant and Krauss make an odd pair, but the album "Raising Sand" is pretty incredible. Produced by T-Bone Burnett (the same guy behind the "Oh Brother" soundtrack and the music from the recent film "Crazy Heart"), the record sort of finds the middle ground between Krauss and Plant's musical worlds without sounding like it came from either. It's a pretty laid back album overall, but utterly gorgeous--sort of dark, sparse, oddly psychedelic at times and the two vastly different voices sound strangely perfect together.
"Killing the Blues" was actually written by John Prine and it's not the first time I've ever fallen in love with someone else singing one his songs (check out Susan Tedeschi doing "Angel from Montgomery" sometime and you'll see what I mean). So now I wonder why I don't have any John Prine in my collection?
This one of those tunes I don't listen to very often, but every time I hear it it blows me away.
--Music is good
Wednesday, June 30, 2010
Monday, June 28, 2010
Track 59: "Waiting on My Wings" by The Word
One of the coolest side projects I got introduced to as a lowly paid, under-read freelance jamband writer was The Word.
Though I've never gotten to see The Word perform live, I've done stories on all three bands represented in the supergroup --keyboard giant John Medeski (of the avant garde jazz-funk trio Medeski, Martin and Wood) pedal steel phenom Robert Randolph (of Robert Radolph and the Family Band) and brothers Cody (drums) and Luther Dickinson (guitar) and Chris Chew (bass) who make up the trio: the North Mississippi Allstars.
The group formed just on the cusp of Randolph becoming all the rage of the jamband world in 2001. Randolph's amazing pedal steel prowess was formed by playing in the House of God church in New Jersey--so it only seems fitting that when be combined with Medeski and the NMAS that the supergroup would put a funky new spin on traditional gospel music.
The Word released their self-titled album in 2001 and it's a great instrumental record. If you've ever been to church, you're sure to recognize some songs like "At the Cross," and "I'll Fly Away" (I gave "I'll Fly Away" a nod back on Track 3 of ye old blog).
Though Randolph's energetic pedal steel playing takes center stage on most tracks, Medeski is a Hammond organ monster, and the NMAS prove to be a super-tight backing band--and the whole group lays down a great mix of gospel-tinged, funky, bluesy rock.
I tried to find some more info on the origins of "Waiting on My Wings" on wikipedia, thinking it would have roots as a traditional gospel tune...and I found nothing. So we'll just assume it's an original by The Word.
Randolph's pedal steel absolutely smokes on this tune, Medeski's organ makes your guts vibrate, and the NMAS expertly handle the myriad of tempo changes. Plus you get to hear some electric washboard.
This is a smokin' jam indeed.
--Music is good.
Though I've never gotten to see The Word perform live, I've done stories on all three bands represented in the supergroup --keyboard giant John Medeski (of the avant garde jazz-funk trio Medeski, Martin and Wood) pedal steel phenom Robert Randolph (of Robert Radolph and the Family Band) and brothers Cody (drums) and Luther Dickinson (guitar) and Chris Chew (bass) who make up the trio: the North Mississippi Allstars.
The group formed just on the cusp of Randolph becoming all the rage of the jamband world in 2001. Randolph's amazing pedal steel prowess was formed by playing in the House of God church in New Jersey--so it only seems fitting that when be combined with Medeski and the NMAS that the supergroup would put a funky new spin on traditional gospel music.
The Word released their self-titled album in 2001 and it's a great instrumental record. If you've ever been to church, you're sure to recognize some songs like "At the Cross," and "I'll Fly Away" (I gave "I'll Fly Away" a nod back on Track 3 of ye old blog).
Though Randolph's energetic pedal steel playing takes center stage on most tracks, Medeski is a Hammond organ monster, and the NMAS prove to be a super-tight backing band--and the whole group lays down a great mix of gospel-tinged, funky, bluesy rock.
I tried to find some more info on the origins of "Waiting on My Wings" on wikipedia, thinking it would have roots as a traditional gospel tune...and I found nothing. So we'll just assume it's an original by The Word.
Randolph's pedal steel absolutely smokes on this tune, Medeski's organ makes your guts vibrate, and the NMAS expertly handle the myriad of tempo changes. Plus you get to hear some electric washboard.
This is a smokin' jam indeed.
--Music is good.
Friday, June 25, 2010
Track 58: "End of the Line" by the Traveling Wilburys
Well it's all right, remember to live and let live/well it's all right, the best thing you can do is forgive
When it comes to side-projects and collaborations, the collection of amazing talents in one put-together band will never be better, and possibly less handsome, than the Traveling Wilburys.
On their own, each member--Bob Dylan, Roy Orbison, Tom Petty, Jeff Lynne and George Harrison--account for some of the most influential musicians EVER in the history of rock and roll. The band released two albums together, oddly titled "Traveling Wilburys Volume 1" and "Volume 3" (not sure what happened to "Volume 2," perhaps the Wilburys were fans of prime numbers).
The band was done when Roy Orbison passed away in late 1988. And it's sort of hard for me to believe that I was 11 when "Handle with Care" and "End of the Line" were hits, but great songs are always timeless and they certainly stuck with me. In 2007, the group's two albums were re-released as "The Traveling Wilburys Collection" and it's an absolute must-have.
There's really not much more to say, other than enjoy this hot as hell Friday.
--Music is good
When it comes to side-projects and collaborations, the collection of amazing talents in one put-together band will never be better, and possibly less handsome, than the Traveling Wilburys.
On their own, each member--Bob Dylan, Roy Orbison, Tom Petty, Jeff Lynne and George Harrison--account for some of the most influential musicians EVER in the history of rock and roll. The band released two albums together, oddly titled "Traveling Wilburys Volume 1" and "Volume 3" (not sure what happened to "Volume 2," perhaps the Wilburys were fans of prime numbers).
The band was done when Roy Orbison passed away in late 1988. And it's sort of hard for me to believe that I was 11 when "Handle with Care" and "End of the Line" were hits, but great songs are always timeless and they certainly stuck with me. In 2007, the group's two albums were re-released as "The Traveling Wilburys Collection" and it's an absolute must-have.
There's really not much more to say, other than enjoy this hot as hell Friday.
--Music is good
Monday, June 21, 2010
Track 57: "Sitting Here in Limbo" by Jerry Garcia and David Grisman
Well, they're putting up resistance/but I know my faith will lead me on
Find your nearest Deadhead and ask if they have any bluegrass albums in their record collection. If the answer is "yes" I bet you a nickel it's the self-titled "Old and in the Way" album. The group that featured the Grateful Dead's Jerry Garcia, David Grisman, John Kahn, Peter Rowan and the late great Vassar Clements was "the" bluegrass album for Deadheads. It's some terrific bluegrass music and also the first of a handful of truly great albums by Jerry Garcia and David Grisman.
If you're a fan of either musician (or not for that matter) and haven't seen the documentary film "Grateful Dawg,"stop reading right now and watch it and then come back...
...so by now you would agree that me saying the documentary perfectly tells the story of the musical relationship between Jerry Garcia and David "Dawg" Grisman would be superfluous, redundant and unnecessary. The "Old and in the Way" album was released in 1975 and it would be over 25 years before Garcia and Grisman would collaborate again, but if you've ever heard any of the duo's music, it sounds like they played together every day over that quarter-century.
They released six-albums together (one being the soundtrack to "Grateful Dawg") and the vast array of music the two cover speaks infinitely of just how musically well-versed Garcia and Grisman were together. The albums in include bluegrass and folk standards, Miles Davis covers, old English sea shanties, and even children's music.
And I just do not get tired of hearing Garcia/Grisman take on Jimmy Cliff's "Sitting Here in Limbo." Garcia just sings the hell out of it, and when his guitar locks in with Grisman's mandolin you feel those notes right in your heart. The rhythm section from Grisman's quintet add just the right touches. Not a bad song for a Monday.
Find your nearest Deadhead and ask if they have any bluegrass albums in their record collection. If the answer is "yes" I bet you a nickel it's the self-titled "Old and in the Way" album. The group that featured the Grateful Dead's Jerry Garcia, David Grisman, John Kahn, Peter Rowan and the late great Vassar Clements was "the" bluegrass album for Deadheads. It's some terrific bluegrass music and also the first of a handful of truly great albums by Jerry Garcia and David Grisman.
If you're a fan of either musician (or not for that matter) and haven't seen the documentary film "Grateful Dawg,"stop reading right now and watch it and then come back...
...so by now you would agree that me saying the documentary perfectly tells the story of the musical relationship between Jerry Garcia and David "Dawg" Grisman would be superfluous, redundant and unnecessary. The "Old and in the Way" album was released in 1975 and it would be over 25 years before Garcia and Grisman would collaborate again, but if you've ever heard any of the duo's music, it sounds like they played together every day over that quarter-century.
They released six-albums together (one being the soundtrack to "Grateful Dawg") and the vast array of music the two cover speaks infinitely of just how musically well-versed Garcia and Grisman were together. The albums in include bluegrass and folk standards, Miles Davis covers, old English sea shanties, and even children's music.
And I just do not get tired of hearing Garcia/Grisman take on Jimmy Cliff's "Sitting Here in Limbo." Garcia just sings the hell out of it, and when his guitar locks in with Grisman's mandolin you feel those notes right in your heart. The rhythm section from Grisman's quintet add just the right touches. Not a bad song for a Monday.
Thursday, June 17, 2010
Track 56: "The Collins Missile" by Leo Kottke & Mike Gordon
But the Collins Missile broke before I got to use it/I couldn't find the fuse and the dials wouldn't turn/it seemed to lack the features that made me want to choose it
When Phish began a 26-month hiatus in October 2000, there were a lot of disappointed heady phans. But the band's members still made a great deal of music during that time with a bevy of side projects. Guitarist Trey Anastasio got the most attention with his own side band and as part the trio OysterHead with Les Claypool and Stewart Copeland. Keyboardist Page McConnell formed Vida Blue with Oteil Burbridge and Russel Batiste. Drummer Jon Fishman played with Pork Tornado and toured with the Jazz Mandolin Project. But bassist Mike Gordon's solo output trumped them all.
In those 26 months Mike "Cactus" Gordon release his directorial-debut film "Outside Out" and a solo record "Inside In" that was the film's soundtrack (and is a really cool, funky and odd record). He also directed the movie "Rising Low" which documented the recording of the amazing Gov't Mule album "The Deep End" (Gordon also played on the record, along with about two-dozen of the greatest bass players ever in rock, stay tuned and you might hear some it down the road).
But the absolute best thing the Phish hiatus ever produced was Gordon's collaboration with acoustic guitar wizard Leo Kottke. I first heard some of Kottke's solo stuff in college, on a barely-remembered trip down to Statesboro, GA to see some friends. (Kottke's album "6 and 12 String Guitar" is phenomenal and the track "Vaseline Machine Gun" is just awesome in both name and content).
So when Kottke and Gordon released the album "Clone" in 2002, my Phish-geek friends and I were excited. And after digesting "Clone" it was apparent Kottke's masterful finger-picking and Gordon's bass just seem like they were made for one another. Any Phish fan can tell you that Gordon is a tad off-center, and though I don't know enough about Kottke's bio to comment on it, I will say the name "Vaseline Machine Gun" may be a nod to an off-center personality as well.
But I can't say enough good things about this collaboration (their 2nd album "Sixty Six Steps" is also fantastic). A really warm, melodic sound (almost a tropical vibe), some great instrumental playing and healthy doses of eccentric and eclectic charm just makes it an absolute pleasure to listen to. Cool music and quite quirky. It's a fitting description.
I'll be honest and say Kottke and Gordon have better songs than "The Collins Missile," but this one is my favorite. But don't worry about the previous sentence making sense. Just enjoy what is easily the most geeky and awkward love song of all time.
My lyrical interpretation goes as follows: weirdo has fight with his lady, so he sets up his build-your-own-rocket and aims it her house as a sign of his affection.The missile doesn't work but weirdo feels his effort was at least enough, and hopes the lady will help bridge their gap. Two days later the rocket shoots off, and now it's for sure in the hands of the lady.
Again that's my interpretation, call me a hopeless romantic. Either that or it's the best super-geeky awkward break-up revenge song of all time...
When Phish began a 26-month hiatus in October 2000, there were a lot of disappointed heady phans. But the band's members still made a great deal of music during that time with a bevy of side projects. Guitarist Trey Anastasio got the most attention with his own side band and as part the trio OysterHead with Les Claypool and Stewart Copeland. Keyboardist Page McConnell formed Vida Blue with Oteil Burbridge and Russel Batiste. Drummer Jon Fishman played with Pork Tornado and toured with the Jazz Mandolin Project. But bassist Mike Gordon's solo output trumped them all.
In those 26 months Mike "Cactus" Gordon release his directorial-debut film "Outside Out" and a solo record "Inside In" that was the film's soundtrack (and is a really cool, funky and odd record). He also directed the movie "Rising Low" which documented the recording of the amazing Gov't Mule album "The Deep End" (Gordon also played on the record, along with about two-dozen of the greatest bass players ever in rock, stay tuned and you might hear some it down the road).
But the absolute best thing the Phish hiatus ever produced was Gordon's collaboration with acoustic guitar wizard Leo Kottke. I first heard some of Kottke's solo stuff in college, on a barely-remembered trip down to Statesboro, GA to see some friends. (Kottke's album "6 and 12 String Guitar" is phenomenal and the track "Vaseline Machine Gun" is just awesome in both name and content).
So when Kottke and Gordon released the album "Clone" in 2002, my Phish-geek friends and I were excited. And after digesting "Clone" it was apparent Kottke's masterful finger-picking and Gordon's bass just seem like they were made for one another. Any Phish fan can tell you that Gordon is a tad off-center, and though I don't know enough about Kottke's bio to comment on it, I will say the name "Vaseline Machine Gun" may be a nod to an off-center personality as well.
But I can't say enough good things about this collaboration (their 2nd album "Sixty Six Steps" is also fantastic). A really warm, melodic sound (almost a tropical vibe), some great instrumental playing and healthy doses of eccentric and eclectic charm just makes it an absolute pleasure to listen to. Cool music and quite quirky. It's a fitting description.
I'll be honest and say Kottke and Gordon have better songs than "The Collins Missile," but this one is my favorite. But don't worry about the previous sentence making sense. Just enjoy what is easily the most geeky and awkward love song of all time.
My lyrical interpretation goes as follows: weirdo has fight with his lady, so he sets up his build-your-own-rocket and aims it her house as a sign of his affection.The missile doesn't work but weirdo feels his effort was at least enough, and hopes the lady will help bridge their gap. Two days later the rocket shoots off, and now it's for sure in the hands of the lady.
Again that's my interpretation, call me a hopeless romantic. Either that or it's the best super-geeky awkward break-up revenge song of all time...
Monday, June 14, 2010
Track 55: "Spirit of the Radio" by Rush
All this machinery making modern music can still be open-hearted/not so coldly charted it's really just a question of your honesty, yeah your honesty
I could have easily thrown this Rush track out there during repeat artist week a few Tracks ago, but I'm glad I didn't. Because after seeing the Rush documentary, "Beyond the Lighted Stage," last week I was so pleasantly reminded about what an insanely awesome band Rush is.
The movie played one night only across the country and I had to go to Kennesaw, GA of all places (the only theater in Atlanta showing it for some reason) to see it. I can unequivocally say this is the best doc I've ever seen about a rock band, utterly fantastic, and it made me fall in love with Rush all over again.
It was a pretty interesting crowd, lots of overweight middle-aged dudes in black Rush tour t-shirts, a smattering of younger folks and a handful of ladies (the chicks don't dig the Rush too much). But the film was such a cool, extremely well-done testament to the greatest cult band of all time.
There were lots of testimonials from famous musicians--Les Claypool, Jack Black, Gene Simmons, and Kirk Hammet--all espousing the musical brilliance of this band. I don't even know what else to say other than watch this trailer for the film:
Unfortunately two of my best Rush-geek friends had prior engagements and were unable to attend. But I did get to see the movie with Creative Circus Advertising Department Head, my former teacher, mentor, and all around cool guy Dan Balser. On the long ride to Kenensaw we got to catch up and share stories of how we got introduced to Rush.
Dan told me he heard "Spirit of the Radio" for the first time on the radio in 1984 and had to pull over and listen to the song because he was so blown away. So track 55 is for you, Dan!
This version is from the "Rush in Rio" concert DVD . And coming soon to a pretentious, under-read music blog near you: my favorite side-project/collaboration songs.
--Music is good.
I could have easily thrown this Rush track out there during repeat artist week a few Tracks ago, but I'm glad I didn't. Because after seeing the Rush documentary, "Beyond the Lighted Stage," last week I was so pleasantly reminded about what an insanely awesome band Rush is.
The movie played one night only across the country and I had to go to Kennesaw, GA of all places (the only theater in Atlanta showing it for some reason) to see it. I can unequivocally say this is the best doc I've ever seen about a rock band, utterly fantastic, and it made me fall in love with Rush all over again.
It was a pretty interesting crowd, lots of overweight middle-aged dudes in black Rush tour t-shirts, a smattering of younger folks and a handful of ladies (the chicks don't dig the Rush too much). But the film was such a cool, extremely well-done testament to the greatest cult band of all time.
There were lots of testimonials from famous musicians--Les Claypool, Jack Black, Gene Simmons, and Kirk Hammet--all espousing the musical brilliance of this band. I don't even know what else to say other than watch this trailer for the film:
Unfortunately two of my best Rush-geek friends had prior engagements and were unable to attend. But I did get to see the movie with Creative Circus Advertising Department Head, my former teacher, mentor, and all around cool guy Dan Balser. On the long ride to Kenensaw we got to catch up and share stories of how we got introduced to Rush.
Dan told me he heard "Spirit of the Radio" for the first time on the radio in 1984 and had to pull over and listen to the song because he was so blown away. So track 55 is for you, Dan!
This version is from the "Rush in Rio" concert DVD . And coming soon to a pretentious, under-read music blog near you: my favorite side-project/collaboration songs.
--Music is good.
Friday, June 11, 2010
Track 54: "All Along the Watchtower" Dave Matthews Band covering Bob Dylan
But you and I have been through that, and this is not our fate/so let us not talk falsely now, the hour is getting late
Capping off a run of Bob Dylan covers, it would be an egregious error of any pretentious blogger not to include "All Along the Watchtower" on an Ultimate Playlist.
And though I have no scientific evidence to support this claim, I think it's safe to say that "All Along the Watchtower" is easily the most covered song in music. Ever. The list of bands that have covered this tune include include Jimi Hendrix, the Grateful Dead, Pearl Jam, U2, Neil Young, Taj Mahal, the Indigo Girls, Richie Havens and my favorite band from my high school years the late Sourwood Honey. (I'm sure that list barely scratches the surface).
Sure, Hendrix's version trumps them all, but I have to give a nod to the way the Dave Matthews Band interprets this song. (And yes, I do like DMB in small doses). "All Along the Watchtower" is pretty much a guaranteed staple at any DMB show (I know I've seen it performed every time in the handful of shows I've seen). And though I think it's a little lame to perform the same song for every encore, the band absolutely kills this tune.
I first saw DMB at the gymnasium at The Citadel in Charleston, SC during my high school spring break in 1995 (one of the best vacations I've ever had) and of course the band encored with "All Along the Watchtower." That summer, maybe three months later, the band did its first amphitheater tour. You Tube displays 534 results when I searched for DMB doing "All Along the Watchtower," but I only had one version in my mind--the best I've ever heard this band do. This version appears of 1994 "Recently" EP." Released before the group was one of the biggest bands in the world, this version is awesome. You can tell it was recorded in a small club, when the DMB was a young, hungry band--a decade before they were rich enough to just casually dump their tour bus sewage tank on unsuspecting tourists in Chicago. http://tinyurl.com/38hq7of
Capping off a run of Bob Dylan covers, it would be an egregious error of any pretentious blogger not to include "All Along the Watchtower" on an Ultimate Playlist.
And though I have no scientific evidence to support this claim, I think it's safe to say that "All Along the Watchtower" is easily the most covered song in music. Ever. The list of bands that have covered this tune include include Jimi Hendrix, the Grateful Dead, Pearl Jam, U2, Neil Young, Taj Mahal, the Indigo Girls, Richie Havens and my favorite band from my high school years the late Sourwood Honey. (I'm sure that list barely scratches the surface).
Sure, Hendrix's version trumps them all, but I have to give a nod to the way the Dave Matthews Band interprets this song. (And yes, I do like DMB in small doses). "All Along the Watchtower" is pretty much a guaranteed staple at any DMB show (I know I've seen it performed every time in the handful of shows I've seen). And though I think it's a little lame to perform the same song for every encore, the band absolutely kills this tune.
I first saw DMB at the gymnasium at The Citadel in Charleston, SC during my high school spring break in 1995 (one of the best vacations I've ever had) and of course the band encored with "All Along the Watchtower." That summer, maybe three months later, the band did its first amphitheater tour. You Tube displays 534 results when I searched for DMB doing "All Along the Watchtower," but I only had one version in my mind--the best I've ever heard this band do. This version appears of 1994 "Recently" EP." Released before the group was one of the biggest bands in the world, this version is awesome. You can tell it was recorded in a small club, when the DMB was a young, hungry band--a decade before they were rich enough to just casually dump their tour bus sewage tank on unsuspecting tourists in Chicago. http://tinyurl.com/38hq7of
Tuesday, June 8, 2010
Track 53: "Don't Think Twice it's All Right" Susan Tedeschi covering Bob Dylan
I ain’t sayin’ you treated me unkind/You could have done better but I don’t mind/You just kinda wasted my precious time/But don’t think twice, it’s all right
Another great one in the Bob Dylan cover song genre...
I credit my fascination with slide guitar giant Derek Trucks to introducing me to Susan Tedeschi, who also happens to be Mrs. Derek Trucks.
They met while Tedeschi's band dis a tour opening for the Allman Brothers Band (Derek has been in the ABB for pretty much this entire decade, and his uncle, Butch,is the band's founding drummer) and are likely the most musically talented married couple alive (now that Britney and K-Fed are finito, of course). But I've been lucky enough to see the two share the stage a couple of times together, and it's really magic. Derek Trucks is easily the best young guitarist alive right now and Tedeschi's old-soul, Southern-fried bluesy voice is nothing short of perfect. They have a sort of side-project together, The Soul Stew Revival (which features Derek's younger brother, Duane, on drums on occasion) and I sincerely wish they'd make a Soul Stew Revival album.
But Tedeschi is uber-accomplished in her own right and I'm just beginning to venture into her solo stuff. Her version of "Angel from Montgomery" is superb. But when I stumbled across her "Live from Austin City Limits" album and this cover of Bob Dylan's "Don't Think Twice it's All Right," I was sold.
Only Bob Dylan could write lyrics this scathing and turn them into such an endearing song. Of course, Susan Tedeschi's voice just makes it all the more gorgeous. And big ups to Johnny Cash's version as well.
Another great one in the Bob Dylan cover song genre...
I credit my fascination with slide guitar giant Derek Trucks to introducing me to Susan Tedeschi, who also happens to be Mrs. Derek Trucks.
They met while Tedeschi's band dis a tour opening for the Allman Brothers Band (Derek has been in the ABB for pretty much this entire decade, and his uncle, Butch,is the band's founding drummer) and are likely the most musically talented married couple alive (now that Britney and K-Fed are finito, of course). But I've been lucky enough to see the two share the stage a couple of times together, and it's really magic. Derek Trucks is easily the best young guitarist alive right now and Tedeschi's old-soul, Southern-fried bluesy voice is nothing short of perfect. They have a sort of side-project together, The Soul Stew Revival (which features Derek's younger brother, Duane, on drums on occasion) and I sincerely wish they'd make a Soul Stew Revival album.
But Tedeschi is uber-accomplished in her own right and I'm just beginning to venture into her solo stuff. Her version of "Angel from Montgomery" is superb. But when I stumbled across her "Live from Austin City Limits" album and this cover of Bob Dylan's "Don't Think Twice it's All Right," I was sold.
Only Bob Dylan could write lyrics this scathing and turn them into such an endearing song. Of course, Susan Tedeschi's voice just makes it all the more gorgeous. And big ups to Johnny Cash's version as well.
Sunday, June 6, 2010
Track 52: "Girl from the North Country" Sam Bush covering Bob Dylan
If you go where the snowflakes storm/where the rivers freeze and the summer ends/see for me she has a coat so warm/to keep her from the howling winds
Continuing the theme of some of my favorite musicians covering Bob Dylan and the plethora of bluegrass tunes I've been doing lately (I told you I love bluegrass in the spring!)...
Sam Bush makes his second appearance on the Ultimate Playlist (see Track 49) with an amazing cover of Bob Dylan's "Girl from the North Country." The original version lives on the record "The Freewheelin' Bob Dylan" and there's a great version where Bob Dylan and Johnny Cash do a duet of the tune on Dylan's "Nashville Skyline" album. But it was Sam Bush that introduced me to the song.
Bush was one of the first 'big' stories I did as a fledgling freelancer, and he really helped introduce me to a world of bluegrass that I would begin to love. The dude's been playing mandolin and fiddle since he was a kid and has been a major player in whole "newgrass" genre since he was a teenager. He was a co-founder of Newgrass Revival, a band that opened for the Grateful Dead on occasion, also featured banjo giant Bela Fleck, and basically helped introduce traditional bluegrass to the brave new world. He pops up on a lot of my favorite bluegrass records by folks like Bela Fleck and Tony Rice
Learn more about Sam Bush here: http://tinyurl.com/32m8c5k
Though the freelancing gig was extremely low paying, it did have its perks in lots of free CDs and lots of free concerts. And Bush's "Peaks of Telluride" CD was one of my first favorites. It's a live album, compiled from Bush's numerous visits to the famed Telluride Bluegrass festival. Again, it's a testament to what two dudes with two chunks of wood can do. Dobro-god Jerry Douglas really adds a lot of color to this song, with some mighty fine pickin' and a singin' from Mr. Sam Bush. And of course it doesn't hurt to start with a masterful blueprint from Bob Dylan.
--Music is good
Continuing the theme of some of my favorite musicians covering Bob Dylan and the plethora of bluegrass tunes I've been doing lately (I told you I love bluegrass in the spring!)...
Sam Bush makes his second appearance on the Ultimate Playlist (see Track 49) with an amazing cover of Bob Dylan's "Girl from the North Country." The original version lives on the record "The Freewheelin' Bob Dylan" and there's a great version where Bob Dylan and Johnny Cash do a duet of the tune on Dylan's "Nashville Skyline" album. But it was Sam Bush that introduced me to the song.
Bush was one of the first 'big' stories I did as a fledgling freelancer, and he really helped introduce me to a world of bluegrass that I would begin to love. The dude's been playing mandolin and fiddle since he was a kid and has been a major player in whole "newgrass" genre since he was a teenager. He was a co-founder of Newgrass Revival, a band that opened for the Grateful Dead on occasion, also featured banjo giant Bela Fleck, and basically helped introduce traditional bluegrass to the brave new world. He pops up on a lot of my favorite bluegrass records by folks like Bela Fleck and Tony Rice
Learn more about Sam Bush here: http://tinyurl.com/32m8c5k
Though the freelancing gig was extremely low paying, it did have its perks in lots of free CDs and lots of free concerts. And Bush's "Peaks of Telluride" CD was one of my first favorites. It's a live album, compiled from Bush's numerous visits to the famed Telluride Bluegrass festival. Again, it's a testament to what two dudes with two chunks of wood can do. Dobro-god Jerry Douglas really adds a lot of color to this song, with some mighty fine pickin' and a singin' from Mr. Sam Bush. And of course it doesn't hurt to start with a masterful blueprint from Bob Dylan.
--Music is good
Wednesday, June 2, 2010
Track 51: "Tomorrow is a Long Time" Nickel Creek covering Bob Dylan
There is beauty in that silver singing river/there is beauty in that sunrise in the sky/but none of these and nothing else can touch the beauty/that I remember in my true love's eyes.
I should probably listen to more Bob Dylan. Much the same way a devout Catholic should read The Bible more frequently. Or how a serious NASCAR fan just can't seem to have enough decals of Calvin urinating on a Ford logo right all over his truck's windows.
But what's pretty cool is how many of my favorite bands and musicians will throw a Bob Dylan cover out every now and then, so I guess it evens out.
I came across Nickel Creek through my hand-to-mouth freelance journalism days and immediately fell for this band. The three prodigious talents--brother/sister Sean (guitar) and Sara (violin) Watkins and Chris Thile (mandolin)--were all reared in traditional bluegrass. They can absolutely pick and have terrific voices that combine for some overwhelming harmonies. They've played Bonnaroo, had videos on Country Music Television, and even have a Pavement cover song in their arsenal--so their mix of bluegrass, folk, and pop really has a broad appeal. And of course it doesn't hurt that they all are quite attractive.
--shameless article plug: http://tinyurl.com/33893q4--
Nickel Creek could easily have a few songs fitting of my recent bluegrass instrumental kick, they certainly have more Playlist-worthy songs as well, but their cover of Dylan's "Tomorrow is a Long Time" just floors me. The song's off their last (for now?) album "Why Should the Fire Die?" album and honestly was the first time I'd ever heard this Bob Dylan song. It just proves what an amazing lyricist Dylan was for writing lyrics that make you want to pull your heart out of your chest and take a bite because the words are so moving. And Nickel Creek owns it. It's gorgeous. The playing and Sara Watkin's voice both make my special place tingle in the best way.
Forgive the cheesy video, but I think it's funny that it was made by Faye-tastic Films. Though I'm confident the amazing woman who raised me to be the blogger you are currenty reading has no knowledge of what entails uploading a video to You Tube. But Faye-tastic is pretty awesome.
The band's last tour in 2007 was called "Farewell for Now," and there's been some solo stuff out from all three members--check out Chris Thile's new group The Punch Brothers, really cool stuff--but here's to hoping Nickel Creek play again.
--Music is good
I should probably listen to more Bob Dylan. Much the same way a devout Catholic should read The Bible more frequently. Or how a serious NASCAR fan just can't seem to have enough decals of Calvin urinating on a Ford logo right all over his truck's windows.
But what's pretty cool is how many of my favorite bands and musicians will throw a Bob Dylan cover out every now and then, so I guess it evens out.
I came across Nickel Creek through my hand-to-mouth freelance journalism days and immediately fell for this band. The three prodigious talents--brother/sister Sean (guitar) and Sara (violin) Watkins and Chris Thile (mandolin)--were all reared in traditional bluegrass. They can absolutely pick and have terrific voices that combine for some overwhelming harmonies. They've played Bonnaroo, had videos on Country Music Television, and even have a Pavement cover song in their arsenal--so their mix of bluegrass, folk, and pop really has a broad appeal. And of course it doesn't hurt that they all are quite attractive.
--shameless article plug: http://tinyurl.com/33893q4--
Nickel Creek could easily have a few songs fitting of my recent bluegrass instrumental kick, they certainly have more Playlist-worthy songs as well, but their cover of Dylan's "Tomorrow is a Long Time" just floors me. The song's off their last (for now?) album "Why Should the Fire Die?" album and honestly was the first time I'd ever heard this Bob Dylan song. It just proves what an amazing lyricist Dylan was for writing lyrics that make you want to pull your heart out of your chest and take a bite because the words are so moving. And Nickel Creek owns it. It's gorgeous. The playing and Sara Watkin's voice both make my special place tingle in the best way.
Forgive the cheesy video, but I think it's funny that it was made by Faye-tastic Films. Though I'm confident the amazing woman who raised me to be the blogger you are currenty reading has no knowledge of what entails uploading a video to You Tube. But Faye-tastic is pretty awesome.
The band's last tour in 2007 was called "Farewell for Now," and there's been some solo stuff out from all three members--check out Chris Thile's new group The Punch Brothers, really cool stuff--but here's to hoping Nickel Creek play again.
--Music is good
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