cortez the killer wrote:I guess the best way to get under Clams' skin is to question whether or not an album he's been listening to less than two weeks fits a very specific, limiting, narrow sub-genre. I'll make a note of that on my 'spreadsheet', "of course."
Love this thread, late to the show and I've missed out on a lot. I call this "psycho country" on my IPod playlist. In my opinion, Richmond Fontaine absolutely belongs here.
On the occasion of R.E.M.'s Murmur turning 30 today Spinner ranked all of their studio records. This is what they had to say about Fables:
"Driver 8" and "Kohoutek" are exceptional and the gauzy deep south romance of this album pre-dates Jim White's "Searching for the Wrong-Eyed Jesus" by almost two decades.
Then, in typical indie journalist fashion reminiscent of Pitchfork they give it a backhanded compilment by praising Mellencamp's Scarecrow instead:
Thing is, at the same time R.E.M. were doing this, John Cougar was making straight-up heartland-loving records like Scarecrow that had a political bite and power far greater than arty adventures.
I'd say Hasil fits (in the Hank III vein). Blitzen Trapper has stepped too far out of the fray to be included. But they do mix country elements with some weirdness, particularly on their earlier records.
You are entitled to your opinion, but you are not entitled to your own facts.
- DPM
dime in the gutter wrote:don't want to muck up the weirdo fringe alt country thread with choices that are very obviously not appropriate for this thread. but i will.
angry or disillusioned dude with only his guitar records:
nebraska/bruce destroy me/dexateens killers and stars/patterson hood
Ben Nichols' Last Pale Light in the West. Not quite one dude with a guitar but pretty close and I believe it fits the genre. Now drink up, drink up
Kudzu Guillotine wrote:On the occasion of R.E.M.'s Murmur turning 30 today Spinner ranked all of their studio records. This is what they had to say about Fables:
"Driver 8" and "Kohoutek" are exceptional and the gauzy deep south romance of this album pre-dates Jim White's "Searching for the Wrong-Eyed Jesus" by almost two decades.
Then, in typical indie journalist fashion reminiscent of Pitchfork they give it a backhanded compilment by praising Mellencamp's Scarecrow instead:
Thing is, at the same time R.E.M. were doing this, John Cougar was making straight-up heartland-loving records like Scarecrow that had a political bite and power far greater than arty adventures.
I will not speak ill of my employers, but there are days when Fables is my favorite REM record.
Also, sometimes weird, sometimes not, but Murder By Death fit in with all this, I think. Bitter Drink, Bitter Moon was probably my AOTY for 2012.
While the whole album isn't exactly Alt.country, I've always considered Moon Pix by Cat Power to fit into the weird Americana thing. A couple songs, particularly Metal Heart, have these amazing breaks where they suddenly reference classic gospel and blues, and she's got a great take on Moonshiner, and the whole thing just feels like a bad trip through the heart of weird, dark America.
Kudzu Guillotine wrote:On the occasion of R.E.M.'s Murmur turning 30 today Spinner ranked all of their studio records. This is what they had to say about Fables:
"Driver 8" and "Kohoutek" are exceptional and the gauzy deep south romance of this album pre-dates Jim White's "Searching for the Wrong-Eyed Jesus" by almost two decades.
Then, in typical indie journalist fashion reminiscent of Pitchfork they give it a backhanded compilment by praising Mellencamp's Scarecrow instead:
Thing is, at the same time R.E.M. were doing this, John Cougar was making straight-up heartland-loving records like Scarecrow that had a political bite and power far greater than arty adventures.
I will not speak ill of my employers, but there are days when Fables is my favorite REM record.
It's my favorite album of theirs without a doubt but one of the upsides of the reissues of Murmur, Reckoning, Fables, Life's Rich Pageant is that they have caused me to listen to those records with new ears. I gave the Live In Greensboro EP a spin last which prompted several spine tingling moments, mainly because I was at that concert and hearing those songs took me right back to that chilly November night in 1989. Maybe it was because it was the day the Berlin Wall fell or that they were filming the show for what would become Tourfilm but there was something indecipherable in the air that night which makes that concert stand apart for me. All criticism of Green aside, I still love that record though I'd never consider it my number 1. To my eyes and ears, all elements of R.E.M. were still firmly in place, it was just a period when they were appealing to an ever growing audience.
I've really come around to Green in recent years. I'm not a huge fan of the production, but for their first huge step into the mainstream, the songs are more than solid, and in some cases pretty weird and great. "I Remember California" and even a single like "Orange Crush" have just something very different going on in them than their reputation as a huge band would indicate.
Holopaw, a five strong, ragtag group of string-benders, knob-twiddlers and finger pickers from Gainesville, Florida. Throughout, human fragility teeters on the edge of electric malfunction, dutifully powered along by pedal steels and steel pedals alike. We quickly came to realize that the strength of this band lies in the many contradictions they present: stripped acoustic arrangements are unsettled by electronic pulses and swells that fade in and out of songs like the warble of a short-wave radio. The sweetest melodies are splintered with stories of broken backs and horses tangled in bridal veils. A sweet, spare vocal track is suddenly pulled under by a rush of dark, spiraling voices, only to surface again - more beautiful still for the contrast. It is these contradictions that might make Holopaw hard to describe, but harder still to ignore.
You are entitled to your opinion, but you are not entitled to your own facts.
- DPM
beantownbubba wrote:As I remember it, beebs, Patterson flatly and fervently denied that anyone associated w/ DBT crapped in a pizza box. Seemed a bit too defensive to me, ya know? Clearly a dramatic, traumatic evening in any case.
FWIW, this is likely to be my only post on this thread. I have no idea wtf y'all are talking about but hell, I'm still trying to figure out "americana." Carry on.
one of the best threads in a long time, but it makes my head hurt trying to figure out your genre classifications...
and now I've gotta track down some Angry Johnny music..
Kudzu Guillotine wrote:Then, in typical indie journalist fashion reminiscent of Pitchfork they give it a backhanded compilment by praising Mellencamp's Scarecrow instead:
Thing is, at the same time R.E.M. were doing this, John Cougar was making straight-up heartland-loving records like Scarecrow that had a political bite and power far greater than arty adventures.
Don't hate me for this, but I'm still fond of the review I wrote of Scarecrow and the Dead Kennedys' Frankenchrist that claimed both records were very good but that Mellencamp's would have the greater positive political impact.
P.S. I haven't seen this gentleman in the thread yet:
The sooner we put those assholes in the grave&piss on the dirt above it, the better off we'll be
Kudzu Guillotine wrote:Then, in typical indie journalist fashion reminiscent of Pitchfork they give it a backhanded compilment by praising Mellencamp's Scarecrow instead:
Thing is, at the same time R.E.M. were doing this, John Cougar was making straight-up heartland-loving records like Scarecrow that had a political bite and power far greater than arty adventures.
Don't hate me for this, but I'm still fond of the review I wrote of Scarecrow and the Dead Kennedys' Frankenchrist that claimed both records were very good but that Mellencamp's would have the greater positive political impact.
I can't say I "hate" anyone for having a different opinion than myself. I'm obviously a huge R.E.M. fan and sometimes that may very well obscure my ability to remain objective (same for my fandom of the DBT's and other artists) but I can definitely understand why someone may feel (insert album of your choice here) was a "sell out" even if I don't necessarily agree with the entire concept of what constitutes a sell out. That said, Mellencamp wasn't really on my radar in a significant way until Scarecrow (which is probably true for a lot of folks). It probably goes without saying but I'm sure that song in particular hit home with a whole lot of people during Farm Aid that year, at least it did me. Same with Steve Earle when he performed "The Rain Came Down".
Kudzu Guillotine wrote: I'm obviously a huge R.E.M. fan and sometimes that may very well obscure my ability to remain objective
you serious, Clark?
Happens to the best of us. I do my very best to see all sides, as difficult as that may be to do at times. I was once told that the only thing Decoration Day was good for was as a coaster. That infuriated me, as I'm sure it would most everyone here. It doesn't do much good to get pissed off about it though as comments like that are only meant to inflame.
kd lang, the Hickoids, the Residents, Blood on the Saddle, Tex and the Horseheads, the Screaming Sirens, and Eugene Chadbourne all deserve "godfather status" in this genre.
Blitzen Trapper is one of my very favorites. Their sound is quite a mix of different things. When they go in the direction of country/altcountry, they really shine.
Razorback wrote:Blitzen Trapper is one of my very favorites. Their sound is quite a mix of different things. When they go in the direction of country/altcountry, they really shine.
i love BT! i think they're so underrated..i think each album has been a bit different, too, really hard to pull off..
Smitty wrote:kd lang, the Hickoids, the Residents, Blood on the Saddle, Tex and the Horseheads, the Screaming Sirens, and Eugene Chadbourne all deserve "godfather status" in this genre.
^^^ don't discount the presence of Sun City Girls on that record!
Clearly a dramatic, traumatic evening in any case.
