With live music on lock down (like everything else currently in New York City) live streams and old concerts have become essential for live music junkies like RtBE. While this current state of pandemic is in order we will highlight various shows/streams/virtual events for your viewing and listening pleasure and you can always check out or weekly Full Show Friday series for concerts from the past.
It is a pretty cool way to relive some live Phish memories and eat some food. On the new side of things front man Trey Anastasio has been working on writing new tunes and putting them up on his Instagram feed. Check out one:
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Ed Butler Band of "The Wicked Messenger"
RtBE couldn't find any images of the band but this flower came up so we used it.
Thoughts on Dylan Original:
From the first time we tackled a cover of this song:
A breezy musical number (only 2 minutes long) with some biblical lyrics which actually foreshadow Dylan's religious musical phase that would arrive in the late 70's/early 80's "The Wicked Messenger" has a cool bass line to match the acoustic guitar. Like most of John Wesley Harding there is a mellow mood that tends to play down the lyrics and even masks the fire and brimstone a bit. The song has seemed to pop up every few tours and can usually be found towards the ends of sets, playing the roll of up-tempo-get-down track. Live versions certainly have improved the tracks standing in my mind from the original. Cover Tune:
Thoughts on Cover Artist:
Can't even find a picture of Ed Butler Band online, so we clearly have never heard them before.
Brian Butler - Bass and Mark Ferraro - Drums round out the band. Thoughts on Cover:
A pretty solid live dirty blues cover, which if the buzz was removed would be a favorite of ours. The fun video helps as well.
We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Alicia Keys!
This week we go back to 2017 for a full show from the very talented Alicia Keys.
With live music on lock down (like everything else currently in New York City) live streams and old concerts have become essential for live music junkies like RtBE. While this current state of pandemic is in order we will highlight various shows/streams/virtual events for your viewing and listening pleasure and you can always check out or weekly Full Show Friday series for concerts from the past.
The guardians of the groove WWOZ is the best radio station on the planet. They are providing daily updates for live streams from amazing local artists and you can donate to help support that cities robust live music scene. New Orleans is literally a second home to RtBE so we want to support the unique town every way we can.
You can go to their daily updates page for live shows each day. Last Saturday we caughtKermit Ruffins at the empty Mother In Law Lounge and hope to support him against this weekend, but there are loads of RtBE favorites including Big Sam, Samantha Fish, John Cleary and others doing live sets which you can support by watching and donating.
To get in the mood here are some live tunes from big easy artists.
With live music on lock down (like everything else currently in New York City) live streams and old concerts have become essential for live music junkies like RtBE. While this current state of pandemic is in order we will highlight various shows/streams/virtual events for your viewing and listening pleasure and you can always check out or weekly Full Show Friday series for concerts from the past. Today we will highlight: Relix Live
The first live stream we saw during quarantine was Relix Live presenting the very recent BB King tribute from the Capital Theater last Friday. It was a hell of a show with our favorite performance being John Scofield and Ivan Neville leading the all-star band through "Never Make Your Move Too Soon".
Looking back at old Jammy's is great as is the Marcus King Monday's. So enjoy the shows from the privacy of your own house. Here are two clips to hype you up for the shows.
Retro from the drop, Tami Neilson's newest record recalls a time back in the mid fifties when R&B, Rockabilly, Country, Blues and Soul were just starting to merge into rock and roll. CHICKABOOM! is a throwback album in every sense, from the cover art, to the brief simple tunes to Neilson's beehive hairstyle.
In her youth she toured in a family band opening and playing with the likes of Johnny Cash, Tanya Tucker, and Kitty Wells and she continued that family vibe on this record as her brother Jay plays bass/rhythm guitar while Delaney Davidson- Lead Guitar and Joe McCallum- Drums/Percussion round out the group. Neilson mentioned that for this record she “wanted to write an album of punchy little songs, popping firecrackers that, when stripped back to nothing but a guitar, percussion and two voices, would still go boom!” and for the most part she succeed.
Oddly the album starts out fairly tame with "Call Your Momma" doing a mild Etta James jaunt, and "Hey, Bus Driver" serviceable rockabilly but neither catches fire. "Ten Tonne Truck" is a fun excursion with hand claps and "Queenie, Queenie" recalls the stripped down style of The Dixie Cups successfully but nothing on the first half of the album really explodes.
However, the songs on the second half of the album are all winners with the clear highlight being "You Were Mine". Neilson unleashes a blues vocal for the ages as she rips into a grooving low down torch song with fiery passion. Brett Adams joins on lead guitar for this number as the band form a solid groove around the throbbing heights of guitar and vocals; a stunner.
Things stay hot on "16 Miles of Chain" as warbling six strings dance and shimmer around another killer vocal from Neilson, the tune is a fitting ode/updated tribute to the Merle Travis tune "16 Tons". Two successful sides of the country coin are displayed as "Tell Me That You Love Me" dives into the road house frantic rambling anything-can-happen style while "Any Fool with a Heart" swings directly into Nashville pop arena.
Neilson and company pay tribute to a legend on "Sister Mavis" as the band revs up a Staples style rocker with Tami testifying for the tile singer in powerful gospel style. Pretty closer "Sleep" strips down a lullaby as Neilson closes CHICKABOOM! simply singing to her children, who have this music in their blood, just like Tami herself.
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Support the artist, buy the album, stream it on bandcamp or below and peep some video:
The continuation of the Dave's Picks series (Dave Lemieux took over the Dick's Picks series started by Dick Latvala in 1993) proves how many nights The Grateful Dead were truly on and flowing. This is the fourth time a show from 1973 has been selected in Dave's series after four shows from 1973 arrived in Dick's original series, slotting in behind 1972 and 1977 respectfully rounding out the three best years of their career.
The most recent selection finds the band playing in one of their "home away from home's", the Philadelphia Spectrum. The band had recently lost one of it's original members as Ron "Pigpen" McKernan died earlier that month and the group was still feeling the loss on this night. Also of note Mickey Hart was no longer in the band leaving Bill Kreutzmann the lone man on the drums during this period and on this night he is the MVP of the show.
The thirty one tracks over three CD's are prime Dead as they start off with the rollicking "Bertha" to kick start the show with Jerry Garcia's fluid lines wrapping around Phil Lesh's upbeat bass bumps. Early highlights are a moving "Cumberland Blues" a Lesh vocal lead on the rare live version of "Box of Rain" and great take on "Me and Bobby McGee" lead by Bob Weir who also closes the set by singing "Playing In the Band", but this version does not reach the heights other '73 versions do.
A fine jolt of poetry and playing is rolled out for the "China Cat Sunflower > I Know You Rider" pairing and an excellent mid set "Stella Blue" beautifully shines giving Keith Godchaux (who is noticeably low in this mix) some space to roam around the piano, but the real reason for seeking out this release starts on the third CD as the end of this show is one for the ages.
The disk starts with a gorgeous version of "He's Gone", a heartfelt tribute to Pigpen, as the band winds it's way through adventurous and exciting musical passages. "Truckin'" picks up the pace with a tightly played version that should be in the all-time great conversation before things morph into the unknown.
When an official release from the band states "Jam" as a track, there is always a skeptical pause needed, but what flows out from the end of "Truckin'" is truly a jam in the best sense of the label. The playing is a melodic mix of blues and jazz interplay as Kreutzmann seems to be pushing the way forward before Jerry takes over, then approximately twelve minutes in Lesh steers the band into their version of "Spanish Jam" based around "Solea" from Miles Davis'sSketches of Spain.
Things then freak out back to the groups acid trip roots while winding down into a brief journey into "Dark Star", but for once that song singles the end of the experimentation, not the beginning. This sequence is a glorious collection of improvised communal playing which ranks with some of the best the band has ever produced. Stout versions of fan favorites "Sing Me Back Home", "Sugar Magnolia" and "Johnny B. Goode" end a truly memorable set of music.
It is hard to go wrong with any entry in the Dave's Picks series and Volume 32 is just another example of the bands, flexibility, durability and talent. Fans need to hear this show (if they haven't already), newcomers to the band can also very easily start here as this night in Philly has it all from the psychedelic folk'nicks as they pay tribute to a fallen brother with the best way they know how; great music.
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Support the band, buy the album and peep some video below (Not official album sound source):
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's artists, Dylan On The Rocks performing a live cover of "Rainy Day Women #12 & 35"
Thoughts on Original:
From the first time we tackled a cover of this tune:
The first song on the iconic Blonde on Blonde "Rainy Day Women #12 & 35" is an anthem for a generation...to do what with, is up for debate. Stoned in the head or stoned by the masses up to you to decide. Whatever your thoughts on the lyrics and meaning it can't be argued that Bob is having fun which doesn't always come across on his studio releases. The "salvation Army" style horns and marching is a hoot...once in a long while but not made for everyday consumption. Truth be told, the song is normally skipped when I am listening to the album, I like opening Blonde on Blonde better with "Pledging My Time".
Cover:
Thoughts on Cover Artist:
We have not heard of Dylan On The Rocks before, but they are a German Bob Dylan cover band and here is their Facebook page.
Thoughts on Cover:
What other song can we pick for #420? Thanks to Dylan On The Rocks for doing a fun live version.
We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Bill Withers!
The immaculate Bill Withers from 1973 pro shot from a BBC concert. The Rock and Roll Hall of Famer chats and sings gloriously and is in great spirits. Enjoy:
Both audio and video are as broadcast by the BBC.
Setlist: 00:00:00:00 Ain`t No Sunshine 00:03:18:11 Lonely Town, Lonely Street 00:09:14:16 Grandma`s Hands 00:11:40:18 Use Me 00:16:01:00 Let Me In Your Life 00:20:15:18 Lean On Me 00:24:47:08 Harlem 00:29:19:00 end
The Brooklyn based MC Duncecap newest EP miserable then is his maturing coming of age record, a moody EP based on fear, pain, relationship dissolution and self hatred. The dour sonic pasture of the record is crafted by ELUCID (Armand Hammer) who collaborate on production of the experimental offering.
The record starts off with "Waste Of Money" which dives into the bile of consumerism and self worth/hatred over heavy industrial beats with scratching from Samurai Banana and rhymes in a light Eminem vein. Duncecap moves exclusively to spoken word over actually sampled water droplets in "Sometimes I Walk in the Rain" dealing poetically with sex and isolationism.
"To Love Your Enemy is to Love Yourself" moves from the physical to the philosophical with slow bumps and scratching and added guitar from Andrew Gialanella; artsy work like this track elevate Duncecap's style. The artist moves back to more straight laced hip hop with "What I Have Done To Myself" adding Quelle Chris to rhyme about the cycle of drinking/blacking out.
The short EP wraps up "Who Knows?" using EUCLID's echoing marching beats and light singing to deal with a failed relationship and the pain and future that rolls out after. Duncecap calls himself a piece of shit on almost every track, but hopefully the feeling is only artistic as miserable then proves the artist has interesting sonic structures and tales to offer.
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Support the artist, buy the record, stream it on bandcamp or below and peep some video:
The contemporary Irish folk band Lankum from Dublin take century old tunes (along with some originals) and embedded them with cryptic haunting arraignments, playing on the dread and bleak desolation folk music can contain, as well as a small glimmer of hope on the horizon.
The opening "Wild Rover" is a good example of this as the track is usually played upbeat and for cheers/laughs. Here the band slows things down and thematically add instrumentation, electricity and a brooding sense of doom. There is a major SunnO))) drone metal element to the folk proceedings as repetition grows into something grander, vibrating on multiple levels.
The band (Ian Lynch – vocals, Uilleann pipes, concertina, tin whistle, percussion Daragh Lynch – vocals, guitar, percussion, piano Cormac MacDiarmada – vocals, fiddle, viola, banjo, double bass, vibraphone, piano, percussion Radie Peat – vocals, bayan, concertina, harmonium, organ, piano, electric organ, harp, mellotron) seem to start small and intimate before layering growing sounds on top of each other.
The droning increases around Peat's haunting vocals for "Katie Cruel" as the song almost stops in it's own muddy tracks a few times as if the band can barely deal with the pain, not particularly enjoyable but certainly affecting. "Bear Creel" and "Ode to Lullaby" are two sides of an instrumental coin as the first uses a fiddle to brighten the mood while the second is based around a booming low end that slowly swells.
The harmonies begin "The Dark Eyed Gypsy" in standard folk fashion before half way through the sonic levels rise while the traditional upbeat "The Pride of Petravore" buries it's tin whistles and lighthearted romps under levels of ominous sludgy warbling, drowning the hope in sonic layers of chaos. Album closer "Hunting The Wren" uses a bass thumping to set the tone and a molasses pace with rising strings and vibrations to close.
While the band uses this glacial pace to increase tension things can also be a bit dull in the moment. However a track like the "The Young People" shows just how this style can be perfectly blended into something larger than it's whole as the acoustic strumming and delicate vocals build then descend then build again, adding a journey that is more nuanced than straight uphill; the track is a highlight on this adventurous album.
Drone-Folk is a genre that at first blush may seem absurd, but Lankum prove that going slowly where others pick fast opens up a world of songs for whole new interpretations on The Livelong Day.
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Support the band, buy the album, stream it on bandcamp or below and peep some video:
You can grab all of our music on Bandcamp, iTunes and Spotify. For "QBS", the story goes like this...
In the lead up to our first St. Paddy's Day gig we were working on some traditional Irish songs to play and our lead singer/keyboard player Don McNally realized they were basically all the same chords just re-arraigned.
So the Irish American from Woodside, NY dug into his past and crafted "Queens Boulevard Serenade". He brought it to the group and after a few tweaks it was ready for prime time, we actually played it only about a week after it was written. There is a little inside baseball into our process, now go celebrate by hoisting a pint. and singing along...Happy St. Paddy's!
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Katarina Pejak Trioplaying "Million Miles"
Thoughts on Original:
From the first time we tackled a cover of this tune:
From the barren blues of Time Out Of Mind comes "Million Miles". While not a standout on that album, the song was prophetic, hinting at the fantastic twelve bar blues variations that would dominate his next two releases. When first heard though it doesn't jump out, just feels like yet ANOTHER solid track from the bard.
Cover:
Thoughts on Cover Artist:
This is RtBE's first time hearing the Katarina Pejak Trio, but this cover would have fit fairly snugly in Jazzy January.
Thoughts on Cover:
A really solid bluesy cover of the tune with great electric keyboard work from Pejak, jazz influenced drumming from Slaven Ljujic and bass from Ana Protulipac. Just another reason this Monday series brings us joy, we get to find covers like this randomly from wide ranging artists influenced by Bob.
We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Flogging Molly's!
St. Patrick's Day is only a few days away, let's get it kicked off right with a Flogging Molly's Full Show Friday from 2017 at the Bunbury Music Festival.
Pro Shot, Pro Sound, Enjoy:
0:14 - The Hand Of John L. Sullivan 4:20 - Swagger
The Geneva based outfit The Rebels of Tijuana have been around for a while, releasing over ten albums, and on their newest EP La Dominicaine they deliver a wining mix of garage rocking psychedelia.
The group are Alexis Kacimi (vocals, guitar), Anthony Salles (drums), Olivier Python (keyboards), Julien Garric (bass) & Jules Koechlin (guitar) and they love the retro shoegaze of desert blues bands like the Black Angels and the psychedelic warehouse rockers of the late 60's with equal fervor. These four tracks start out simple and straight ahead but each experiments and flies off the beaten path in unique ways.
Opener "C'est immense" kicks things off with a blues based ramble, grooving with energy before a feedback laden solo wraps things up, while a decent effort, things only improve over these four songs. ""Elle triomphge" is a slow burner that slams into high gear with punk like drums and a motoring sense of purpose before expanding out into the sonic netherworld with warbling guitar effects.
"Chameau" is a blistering outing which overloads guitars and electronic effects to speaker shaking degrees and ends up being the most exhilarating track, worthy of late night freak-outs or sunshiny high volume blasting. Album closer "Joue d'avance" is a tight crisp '50's style garage rocker which cooks with energy and a screeching guitar solo.
The four songs on La Dominicaine are a woolly wild ride which play with sonic textures and levels of mind altering guitar based rave ups. The only downside to this brief release from the Swiss rockers is that there aren't more killer tunes to keep the party rocking.
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Support the band, buy the album, stream it on bandcamp or below and peep some video:
The first release from the Swedish based four piece on Ozium Records finds Goatriders mixing heavy doses of 70's metal, prog, desert and stoner rock on The Magician's Keep. The band is a throwback as the group try out the different sub genre's from decades past.
The band start their rumbling five track offering with fuzzed up guitars and a semi motoring low end for "Golem". The opener along with "Hound of the Gods" show the band wants to get after it with frantic drumming but this is not the groups strong suit.
The highlight offering is "Amitte Diem", a slow ominous lumbering beast of a song that recalls the smokey bars and bad haircuts of late seventies metal. A great melodic bass line opens the proceedings as the scuzzy up guitar lines enter and the plodding number takes its sweet ass time exhuming itself from the oozing tar pits. This stoner rock sludge is peak Goatriders as they plod and lurch in the sonic muck like their forefathers Black Sabbath.
Unfortunately the sonics are a bit of a problem as the production is muddle throughout. Vocals are mixed incredibly low in the mix making singing and lyrics almost an after thought. A greater separation of instrumentation and cleaner production would help the band immensely on their next offering.
The mid tempo "Pitch Black Blues" and the prog opus "Song From Mars", complete with pedal effects and spoken word lyrics about ruining the galaxy, wrap up The Magician's Keep. For a first outing the band is on a solid path through the hazy world of sludge, prog infused rock.
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Another random bandcamp find. Support the artists, buy the album stream it on bandcamp or below and peep some video:
Back in the mid 80's Robert Cray emerged as one of the best blues artists of the era with smooth/cutting playing, true singing, rich band leading and excellent song writing on Strong Persuader (which just missed our Masters Best of the Blues albums list) among other releases. He has been solid since then, if not changing the world, with his heady renditions of the blues and now comes That's What I Heard, a wide ranging album that allows Cray to display his talents with gusto.
Where a record like Strong Persuader Cray found the cool route and stuck to it, That's What I Heard successfullydabbles in various genres and styles with the help of producer Steve Jordan who gets the most out of Cray and his band (while also drumming on most tracks). The album has four originals from Cray which all stand toe to toe with the covers from legends of blues and soul.
Starting of with one of the few negatives, Cray's voice can project with the best ever in the genre (BB King, Bobby Blue Bland etc) but on a track like "You're The One" which channels Sam Cooke's energy and vibe, Cray sounds disengaged letting the gorgeous backing music down. However, outside of that vocal performance there is very little to be critical of on That's What I Heard.
The opener, written by Cray, sets the high water mark as "Anything You Want" pairs Cray's upbeat clean style with some dirty blues before things take a decidedly gospel turn for "Burying Ground" as Cray delivers dynamite vocals around tambourine, choir support, organ and spiritual sounds. The group falls into a deep groove for the jilted lover drama of the elongated "This Man" about a third wheel who keeps popping up (or is our current political situation?) before the scorching guitar, piano and perfect use of the phrase "diddly squat" in the appropriately named "Hot".
The band locks in for a complete soul effort on "Promises You Can't Keep", injecting soothing horns to the torch song blues around Cray's passionate vocals while "You Can't Make Me Change" fits like an old glove with it's sashaying blues and Cray's direct singing. The roadhouse stomping and electric feedback fuzz of Don Gardner's "My Baby Like's To Boogaloo" is a jolt of energy threatening to career off the tracks as the full band let their hair down and get after it in exhilarating fashion.
The swelling pain in "A Little Less Lonely" uses B3, and climbing drums to match Cray's vocals as things boil over, before the record wraps up with a ripping gut bucket funky jam "Do It" which we get to hear already in progress as if Cray and his band were doing it proper like this all the time they weren't in our ears.
Cray proves he is still giving it his all as That's What I Heard is a tour-de-force of the blues and beyond.
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Support the artists, buy the album, peep some video below:
It is of The James Hunter Six newest release, Nick Of Time.
If you like retro soul and R&B from the 50's/60's you need to hear this band; they are legit. RtBE have reviewed their albums in the past and caught them live, and both the album and the show rank high on our year end lists. Nick Of Time is more of the same good stuff.
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by The Box Tops playing "I Shall Be Released"
Thoughts on Cover:
From the first time we tackled a cover of this song:
"I Shall Be Released" has been covered by too many artists to count and with reason; it is a masterpiece. A simple song that will forever be etched in Rock Legend as it ended perhaps the best concert in rock history, The Last Waltz. The Band are always connected to the tune as Dylan wrote it during those amazing days playing with the group up at Big Pink in the Catskills and the group released it on their first album. Gospel in nature the song is about salvation that can be certain, and each listener (and performer) can add their own personal feelings into the sketch, perfect for covering, especially live to close a show with friends.
Cover:
Thoughts on Cover Artist:
When RtBE originally found out that a band called The Box Tops wrote the famous "The Letter" we just naturally assumed it was a doo-wop group from the 50's. Needless to say it was a pretty big surprise digging into this Memphis based group as they delivered some God damn catchy rock and roll. Alex Chilton made a ton of catchy tunes after this as well and The Box Tops was a dynamite way to start a national career.
Thoughts on Cover:
A cool cover that unfortunately never raises to the heights it hints at with soothing horns and harmonies. Simply ends a bit early, when things were working so well.
We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Mahavishnu Orchestra!
January may have been Jazzy January here at RtBE, but this one fits the rock box as well so we held off to give Mahavishnu Orchestra some love in March on this Full Show Friday. One of the biggest Jazz Fusion bands who we have not featured on the site yet.
The band is a duo of Ty Segall and Brian Chippendale (Lightning Bolt) and anyone with any back knowledge knows to expect the unexpected. We have reviewed both artists main acts before on this site and really enjoyed both, but this combo, while fine, was not as crazy or as psychotic as we thought it might be.
Since we started reviewing albums and shows fifteen years ago a few record labels have been must follows and always make RtBE excited for a new release. A few come to mind, Bloodshot, Sub-Pop etc. but perhaps none have been as consistently excellent as Brooklyn's Daptone with their retro soul sound.
Now they are expanding with the Penrose Imprint. In their words:
Daptone Records launches Penrose , a new imprint poised to usher in a whole new era of soulful sounds. Founded by Daptone Records’ own Bosco Mann after building a new recording studio in his hometown of Riverside, California, Penrose will showcase the most exciting acts emerging on the blossoming SoCal souldies scene today.
They are commemorating this moment with a release:
For its inaugural release, the label offers up five singles by five artists: Thee Sacred Souls from San Diego; Jason Joshua from Miami; East L.A. mainstays Thee Sinseers , and The Altons ; and Altadena veterans, Los Yesterdays . All five singles are available today as a digital EP called Presenting Penrose Records . The tracks will also be available as individual 45 vinyl records (with an additional b-side) and as a full digital compilation called Penrose Records Vol.1 . out April 10.
When the term "indie-folk" gets tossed around, the sound on Bonny Light Horseman's debut self-titled release is what comes to mind. Enchanting vocals around warm instrumentation, traditional tunes and first rate production are all captured on the trio's fantastic first offering.
The Brooklyn based group of Anais Mitchell, Eric D Johnson and Josh Kaufman have crafted a winner out of old folk songs and new originals. The disk opens with the trio's interpretation of the English folk song where they get their name and album title. The effort dates back to the Napoleonic Wars as Mitchell gives voice to the lament about losing a loved one to the battles.
An original "Deep In Love" is paired with some lyrics to the traditional tune "Waly Waly"/"The Water Is Wide" as Johnson takes over vocal duty around rising warm instrumentation. The production on this record by Kaufman keeps things soft and warm and while some of the more political/vengeful songs are dulled, the overall sound is enveloping and successful.
A few friends help out as Aaron Dessner (The National) plays hi string guitar and Justin Vernon (Bon Iver) sings on the short direct piano tune "Bright Morning Stars", the record was also released via Dessner and Vernon's label 37d03d Records. JT Bates adds drums, percussion, and vocals, Michael Lewis is on board for bass, tenor saxophone and vocals while Andrew Barr (The Slip) also contributes some drumming.
Mitchell takes center stage for the weeping lost love ballad "The Roving" with great plucking guitars, drums and rising swells around harmonies while "Jane Jane" is a more lighthearted, bible influenced tune, complete with a holy countdown to the baby in Bethlehem. "Blackwaterside" is one of the most engaging tracks on an album full of them as the yearning vocals, complete with woah's, ooh's and ahh's dance around piano, light drumming and soft saxophone to close.
The twinkling "Magpie" and the soothing horn influenced "Lowlands" find both Johnson and Mitchell respectively singing with passion. Things never raise above a soothing level of pleasantness but with sounds this fine, things are never in a hurry to do anything else. "Mountain Rain" evokes John Henry's legend around plucking guitars and closer "10,000 Miles" wraps up Bonny Light Horseman on a classic farewell tune around organs, brushed drums and excellent singing from both Mitchell and Johnson.
Who knows if this is a one time offering, or the group will continue to meld the past and the present in the folk world, but whatever the future holds, things just sound better by having this record to listen to.
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by The New Love Generation of "My Back Pages"
The original has taken upon itself a cultural importance, and the chorus has simply become iconic. I doubt Dylan intended such, but it toes the line of out and out protest and illustrative questions. He puts down everyone from evangelists to girls, but the language snakes and flows so magically that it doesn't seem as harsh as "Positively 4th St" or "Ballad in Plain D". The sense of exhaling desperation or at least the realization that age confuses things even more seems to be what I take from this tune after each listen, but things can change...or can they? Cover:
Thoughts on Cover:
Here is a Dylan cover that is much more closely related to The Byrd's rendition of this song. While it is a bit over produced for RtBE's taste the tune lends itself wonderfully for multiple singers which The New Love Generation delivers with each verse.
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