Mark Edgar Stuart, a wonderful Memphis singer, songwriter, and session musician, is releasing his second solo album on February, 24. I highly recommend.
tinnitus photography wrote:count me among the Sinatra dontgiveashit types.
me too..
Pretty underwhelmed at the thought of this Dylan album tbh, not really been too big a fan of the last few albums (mainly due to vocals), but will wait to hear first before making mind up.
Hard to understand what you dontgiveashitaboutsinatra folks hear (or don't hear) but that has nothing to do w/ dylan singing sinatra - it's hard to imagine a worse musical idea.
What used to be is gone and what ought to be ought not to be so hard
beantownbubba wrote:Hard to understand what you dontgiveashitaboutsinatra folks hear (or don't hear) but that has nothing to do w/ dylan singing sinatra - it's hard to imagine a worse musical idea.
The Christmas album? Actually that was done for a good cause.
I'm not too enamored by the idea for new album either…I don't really care for the song he's released for it…and he closed with another song off it most of the fall and I didn't dig it either.
beantownbubba wrote:Hard to understand what you dontgiveashitaboutsinatra folks hear (or don't hear) but that has nothing to do w/ dylan singing sinatra - it's hard to imagine a worse musical idea.
The Christmas album? Actually that was done for a good cause.
I'm not too enamored by the idea for new album either…I don't really care for the song he's released for it…and he closed with another song off it most of the fall and I didn't dig it either.
The funny thing is, Dylan doesn't really give a shit what anyone thinks. That's always been one of his most admirable qualities, same for Neil.
Kudzu Guillotine wrote: The funny thing is, Dylan doesn't really give a shit what anyone thinks. That's always been one of his most admirable qualities, same for Neil.
Kudzu Guillotine wrote: The funny thing is, Dylan doesn't really give a shit what anyone thinks. That's always been one of his most admirable qualities, same for Neil.
Agreed.
Fair enough, but I have no desire to hear Bob sing Sinatra.
Chris Porter of The Back Row Baptists, Some Dark Holler and Porter and the Pollies has his Will Johnson produced debut solo record out this spring This Red Mountain. Here's a track:
Tequila Cowboy wrote:The Avetts are just OK to me, I never really listened to Elliot Smith but I do really like Jessica Lea Mayfield for what that's worth.
Agree with the first part, but I gave Jessica about 30 minutes at HSB a few years ago, got bored and moved on.
Avetts are boring, Elliot Smith is OK (but vastly overrated) but I really dig Jessica Lea Mayfield even if I was a tad disappointed in her last record.
A painstaking work of minimalism, Where in Our Woods is defined by its limited palette. The arrangements foreground nylon-string guitar and an antique portable pump organ. A stripped- down drum set (played by Matthew O’Connell, Joe’s brother), a baritone ukulele, a toy recorder, and harmony vocals (sung by Will Oldham, a friend of and key influence on O’Connell) round out the sound. This sparse ensemble leaves O’Connell’s voice room to breathe, while elevating and magnifying the poetry of his songs.
The album follows an ensemble cast of human and animal characters as they negotiate the supernatural and the mundane: “Light Side” catalogues a friend’s search for sublime experience through a self-described “redneck mysticism” involving in drugs, sex, and travel. “Rare Beliefs” and “Demise of the Bible Birds” explore the world of a "Bible Bird Man" from Noblesville, Indiana, who trained exotic birds to perform stunning Christian-themed stunts. “Albino Animals” is a modern day journalistic ballad, summarizing three stories found in one edition of O'Connell's hometown newspaper: readers responding to the recent slaying of an albino deer, husband-and-wife meth cooks escape federal prosecution based on an error in legal process, and a rower with local roots attempts a transatlantic passage that ends in disaster.
The album closes with “Slow Time Vultures,” which was inspired by the descent of hundreds of migrating vultures on O'Connell's parents’ farm in southern Indiana. At the time of this avian congress, state government was instituting the observance of daylight savings time for the first time in Indiana. As O’Connell explains, "Maybe it goes without saying that the unexplained appearance of a sky full of vultures might seem like a harbinger of doom. I wondered if it related to the time change. At its core, this song is in the tradition of American country songs that express indignation toward the idea of progress." Throughout the album, O'Connell deftly transforms the stuff of everyday American life into a series of entrancing meditations on culture, nature, religion, and modernity.