My week just started wonderfully, with a free download in my inbox for “Change of Time” off Josh Ritter’s forthcoming So Runs The World Away (May 4th in the US). The songs which fall from Josh’s pen and lilt from his guitar make him one of the most important songwriters of our generation (which some people disagree with me saying, because he’s not as commercially viable as, say, Green Day).
But it’s an interesting discussion (can art be “important” without being popular?) — and in the meantime I am thrilled to hear finished versions like this. I’ve been completely mesmerized by this song ever since I first posted a live version back on my birthday, and now I can untangle all the words.
Sometimes I feel like my memories are battered hulls and broken heart-ships, leviathan and lonely, too. I closed my eyes and kept on swimming.
Josh is writing a new blog called “(If there’s a) Book of Jubilations (we’ll have to write it for ourselves)” while he’s on tour this winter. I cannot wait for the full new album. Folks I know who have heard it were rendered void of meaningful speech, only able to say things to me in acronyms like “omg.”
…Winter’s over, be my darling
been a long time coming but now
snow is gone.
Josh Ritteris one of the most important songwriters of our generation, consistently producing breathtaking songs that are rife with symbolism, rich with meaning, and brimming over with the kind of heart that I want to have.
While we wait for his new album this year (one of my most anticipated in 2010, based on things like this) yesterday brought the news that Ritter is re-releasing Hello Starling, his third album, with all kinds of fancy extras.
This album contains several of my all-time favorite songs from Ritter: Kathleen (for lines like, “all the other girls here are stars, you are the northern lights” and “every heart is a package tangled up in knots someone else tied”) and Bone of Song (a spine-tingly story about creative inspiration).
And also this one, which I have been listening the bejesus out of this last month. Even if a glance around me tells me that the snow is still here, the ice is caked in the shade, and the water is frozen over impenetrably, for a while when i listen to this song I can close my eyes and feel that real shoot of green hope, somewhere underneath. Hope in spite of this grey reality.
I’m underneath your window now
it’s long after the birds have gone to roost
and I can’t tell if I’m singing for the love of it
or for the love of you…
This new 2-CD deluxe reissue of Hello Starling also includes a bonus CD of Josh performing the whole album solo acoustic, four live bonus cuts (Josh plus full band) as well as rewritten, spiffed up liner notes, photos, and essays. Buy it at Newbury Comics (limited booklets autographed by Josh) or at your independent record store (www.thinkindie.com). Oh and while you’re at it – Josh also has a new song “Great Big Mind” on the 1% for the Planet compilation.
I’ve been feeling a bit reclusive lately into my own quiet endeavors, simply digesting the music I have and easing off on the rabid consumption just a smidge, before it consumes me. It’s a mini phase, arguably tied with getting old, older (I am 30 today) — or perhaps just a symptom of the end of summer and the start of school with a hint of coolness in the air after sunset.
As the first suggestion of autumn nights creeps in, this new song by Josh Ritter instantly knocked the wind out of me tonight, and made me tear up (just a little — shhhh!) on my birthday, but I never mind it when music does that to me. I love the worlds Ritter creates, even though they are so often loaded with longing. This song is staggering.
I don’t remember what I dreamed last night, other than that there were words of optimism scrawled in black ink down my side. I’d fallen asleep with a head full of good thoughts and sparkling conversation, and woke up in a patch of sun, with a smile on my face for the decade to come. But somehow the ache and melancholy in this song strikes just the right chord with me tonight.
I had a dream last night, dreamt that I was swimming
and the stars came up, directionless and drifting
and somewhere in the dark, the silence and the thunder
around me as I swam, the drifters who’d gone under time, love
time, love
time, love
it’s only a change of time
I had a dream last night of rust, and far below me
battered hulls and broken heartships, leviathan and lonely
I was thirsty so I drank and though it was saltwater
there was something ’bout the way it tasted so familiar
time, love
time, love
time, love
it’s only a change of time, love
[unknown bridge about sails and silence, whitecaps of memory...]
I had a dream last night, and when I opened my eyes
your shoulderblade and spine were shorelines in the moonlight
new worlds for the weary, new lands for the living
I couldn’t make it if I tried
I closed my eyes, I kept on swimming
time, love
time, love
time, love
it’s only a change of time, love
An earlier live version, missing some verses but still gorgeous:
As I’ve blathered on about before, Josh Ritter is one of the most talented epic songwriters we got goin’ right now. His words and music are nothing short of poetry, demanding a closer listen over and over.
Somehow in the cold winter bustle of December, I missed two renditions he recorded of his songs with a string quartet from Dublin’s Vicar Street Orchestra. Josh has used strings before in his recorded music (listen: “The Temptation Of Adam“) and played live shows with orchestras to immense effect, but these versions take it to a whole new level of sublime.
Girl in the War is laden with conflicted biblical imagery (as with many of his songs), and the deep waters of ache get even more vast here with the taut beauty of the strings. They speak to me in ways that no other instrument can.
These lyrics are all I really want to listen to on this gray day.
Girl In The War – Josh Ritter with String Quartet
(originally from 2006’s Animal Years)
Paul said to Peter you got to rock yourself a little harder
pretend the dove from above is a dragon and your feet are on fire
But I got a girl in the war Paul, the only thing I know to do
is turn up the music and pray that she makes it through
…I got a girl in the war Paul, her eyes are like champagne
they sparkle, bubble over, and in the morning all you got is rain
they sparkle, bubble over
and in the morning all you got is rain
Also download a string version of “Empty Hearts” (originally from 2007’s Historical Conquests of Josh Ritter), and if you are still unacquainted with his genius, many of his incredible songs are available for free download here.
JOSH RITTER SUMMER TOUR # with Joe Pug (!)
* with Blind Pilot (!)
% with Helio Sequence
@ with Langhorne Slim
July 04 – Cork, Ireland. The Marquee (with full 24-piece orchestra and Lisa Hannigan!) July 07 – Cleveland, OH. Beachland Ballroom #
July 08 – Des Moines, IA. Vaudeville Mews #
July 09 – Minneapolis, MN. Varsity Theater #
July 10 & 11 – Winnipeg, MB Winnipeg Folk Festival
July 12 – Fargo, ND. The Aquarium
July 14 – Boise, ID. Egyptian Theatre *
July 15 – Boise, ID. Egyptian Theatre (solo acoustic with string quartet. Tift Merritt supports) July 16 – Sun Valley, ID. Elkhorn Resort (outdoor show) July 17 – Kennewick, WA. Red Room %
July 18 – Moscow, ID. Rendezvous in the Park %
July 20 – Helena, MT. Myrna Loy Center @
July 21 – Bozeman, MT. The Emerson Cultural Center @
July 22 – Salt Lake City, UT. Urban Lounge @ July 23 – Denver, CO. Bluebird Theater @
July 24 – Lawrence, KS. The Bottleneck @
July 25 – Omaha, NE. Slowdown @
July 27 – Columbia, MO. Blue Note @
July 28 – St. Louis, MO. Off Broadway Nightclub @
July 29 – Louisville, KY. WFPK Waterfront Park (FREE)
July 30 – Chicago, IL. Metro
July 31 – London, ON. Music Hall
Aug 01 – Montreal, Canada. Osheaga Festival
Aug 02 – Newport, RI. Newport Folk Festival
Aug 15 – North Adams, MA. MASS MoCA Festival
(with Elvis Perkins, Ben Kweller and more)
I’ve found myself smitten all over again these days with the song “Wolves” by Josh Ritter.
Two years ago this weekend, I sat transfixed as he performed it at my first Noise Pop show of 2007, at the Swedish American Hall in San Francisco.
Wolves – Josh Ritter
(something inside of me careens into a sad void, suspended in the ache, when the verse at 2:48 starts. Such a magnificent song.)
I still remember that time when we were dancing, we were dancing to a song that I’d heard. Your face was simple and your hands were naked, I was singing without knowing the words. But I started listening to the wolves in the timber, wolves in the timber at night. I heard their song when I looked in the mirror, in the howls and the moons round my eyes…
So long, so high
Then winter came, and there was little left between us – skin and bones of love won’t make a meal. I felt my eyes lifted over your shoulder, there were wolves at the edge of the fields. But I still remember that time when we were dancing, we were dancing to a song that I’d heard. Your face was simple and your hands were naked, I was singing without knowing the words…
So long, so high
Then one day I just woke up and the wolves were all there, wolves in the piano, wolves underneath the stairs, wolves inside the hinges circling round my door, at night inside the bedsprings, clicking cross the floor. I don’t know how they found me I’ll never know quite how. I still can’t believe they heard me, that I was howling out that loud…
So long, so high
Sometimes in the frozen nights I go roaming in the bed you used to share with me. I wake in the field with the cold and the lonesome, the moon’s the only face that I see. I still remember that time when we were dancing, dancing to a song that I’d heard. Your face was simple and your hands were naked, I was singing without knowing the words.
So long so high
Ritter has a “teeny tiny Spring tour” coming up, in which the band will be taking a break from the studio, shaking off some rust, and playing new songs. Yeah, I’d recommend going.
The inaugural Mile High Music Festival brought massive-scale concert enjoyment to Colorado this weekend. An estimated 80,000 festival attendees from all over the nation and beyond (Canada?) descended on the endlessly stretching, sun-baked green of the fields at Dick’s Sporting Goods Park on the eastern outskirts of Denver.
My hundred-degree Saturday started a bit belatedly (pitchers of cider called to me on a shady patio and I missed a few early day bands) with my favorite performance. The astoundingly rich Josh Ritter exploded through the more “rocking” of his folk songs (this meant no Thin Blue Flame, No Temptation of Adam sadly) and wowed the crowd with his incisive lyricism and ebullient joy in performance.
Oh, I heart you Josh Ritter.
Andrew Bird was next up, with his elegant orchestral pop songs that swirl around the otherworldly sound of his trademark whistling. My friend perceptively noted that this “instrument” of Bird’s whistle actually sounds a lot like a theremin, something I’d not previously realized but is absolutely true. Under the shade of the Bison Tent stage, Bird kicked off his blue shoes and strutted his tiny wiry frame around in multicolored striped socks. The silver double-head phonograph spun, dizzily. The crowd shouted their approval.
And finally Tom Pettyswooped in with his embroidered jacket and dozens of songs you forgot you knew every word to by heart. He finished off night one in grand style.
Festivalgoers shuffled exhausted out to our cars to get ready for day two . . .
For each year so far that I’ve been dabbling in this music-blog-writing hobby, there seems to be a greater proliferation of choices for my ears to make. It seems like more artists are making their voices heard, more albums getting out there in one form or another, more people being turned on to music outside the mainstream 35 songs you hear on the radio.
This is good news for ears, hearts, and souls, and bad news for listmakers.
After much struggling, I’ve picked out ten albums that I’m happy with being my favorites from 2007; add all of these to your collections and be happy too. There were some very good albums that I left off this year (I am sure you will point them out to me in the comments) but these 10 are the ones that connected with me uniquely and viscerally. And they’re listed in alphabetical order because even numerically ranking them defeated me.
If you would like to hear me talk more about these albums, and discuss my perspective as a music blogger in the digital music world in 2007, please tune in to NPR’s World Cafe on January 1st. I’ll be doing a piece with David Dye, Tom Moon from NPR and Marco Werman from BBC’s “The World” program.
And yes . . . this is my poker face. I’m doing little freakout backflips on the inside.
TEN FUEL FAVORITES OF 2007
BECAUSE OF THE TIMES Kings of Leon Folks complain that this album isn’t as loose and rough and gut-punch raw as earlier KOL efforts, and they’re right. This album is bigger and hazier and more anthemic, but I find myself craving the riffs, the melody, the scowly drawl of the lyrics, and the unabashed rock. I agree with the fantastic Daytrotter piece that called this one “a sneaker” (as in it sneaks up on you, not a shoe). I like that KOL are experimenting with their sound and pushing the edges. Plus, they absolutely have the best live show I saw (twice) this year, all caged energy, confident strut and rock and roll. Fans – Kings of Leon
BOXER The National This is the richest album in my top ten this year, in that the songs seep under your skin and percolate slowly. As we discussed, so much of this is 4am music; the late-night special, flawed but transcendent. Woven through songs that pulse restlessly with thumping drums, elegiac strings and evocative piano melodies, the lyrics here destroy me. Absolutely. They lament “another uninnocent, elegant fall into the unmagnificent lives of adults,” then ruefully note that “we’re so disarming darling, everything we did believe is diving diving diving diving off the balcony / Tired and wired we ruin too easy, sleep in our clothes and wait for winter to leave.” The purity of elemental urges and gorgeous expression makes me wants to live inside the stories of this album. Fake Empire – The National
DIRTY BOMB The Star Spangles Here to save the rock and roll crown from the hands of slicker entries this year, The Star Spangles from New York are filthy and gritty and raw, making pub-chant punk with strong melodies. Full of heart, they are the real deal so don’t mess with their work ethic. In addition to playing roughly 3,528 fiery live shows this year, they’re not above doing things like playing a recent show at the Jesse Malin/Ryan Adams hangout Niagara in NYC wearing only a trenchcoat and a fedora (all the better to rock with less friction, I guess). Listen to this vibrant album loud, and feel the ebullient crush of youth. Take Care of Us – The Star Spangles
FIGHTING TREES The Swimmers The owner of some trusted ears remarked upon first hearing this Philly band that “this is what Wilco might sound like if they just let their popness run rampant.” Fighting Trees is a shimmering, delicious, intelligent album full of pop goodness but not too sugary-sweet. It’s got the jangle and the thump, the three-part harmonies and the cohesive storyline lyrics that sweep me off to somewhere else; they weave a dream-sequence where you are floating above yourself, watching the actions below with a distanced eye. Loosely based around the 1964 short story “The Swimmer,” both the grad-school premise and the resulting album deserve massive props. [stream here, buy CD at shows, out via Mad Dragon in early 2008] Heaven – The Swimmers
GOOD AND RECKLESS AND TRUE The Alternate Routes In a year when I was really hoping for a grand, rootsy, golden album from Ryan Adams that never materialized for me, The Alternate Routes warmed the speakers of my car all summer long with their expansive, windows-down, wholeheartedly good brand of alt-country rock. One of my favorite lyrical pictures all year comes from these opening notes: “I’ve been wasting my days good and reckless and true, I have danced in the dark at the edge of the water, swingin my hips at the black and the blue…” The songwriting is solid and incisive, highlighted by the aching tenor of lead singer Tim Warren — and speaking of Ryan Adams, current Cardinals drummer Brad Pemberton pitches in on the skins here as well. Although the album swings effortlessly from rollicking to pensive, the common thread that I find appealing is the earnest commitment to simply playing their blessed hearts out. Ordinary – The Alternate Routes
THE HISTORICAL CONQUESTS OF JOSH RITTER Josh Ritter A pal recently asked me who I thought the best modern-day songwriter was. At the time it was 2am, and I mumbled something about how I thought Josh Ritter was pretty dang incredible. Upon coherent reflection, I take that back; I think Josh absolutely may be the best songwriter of our generation that I’ve heard. His penetrating lyrics consistently blow me away, and the rock influences of his new album ramp up the folk sounds I’ve loved in the past into something that definitely hits harder and leaves me all itchy and excited-like. You must see him live in 2008, the new material is amazing in concert. As Josh weaves his intricate, literate songs on stage, he overflows with each lyric as if he were birthing every line afresh for the first time. That same refreshing joy is palpable on this album, and we are grateful for it. To The Dogs or Whoever – Josh Ritter
I CAN’T GO ON, I’LL GO ON The Broken West When I first heard this new Merge Records signing last January, my post title was “I want to listen to The Broken West all weekend long, maybe until my eardrums crystallize into sugar.” That pretty much sums up how vividly I crave the sounds on this disc. Catchy hooks and fuzzy power-pop sounds blend with a blast straight from the ’60s in terms of sheer listenability — and you’re having 100% Fun with Matthew Sweet while the Kinks play in your garage. Hailing from Los Angeles, the guys in the Broken West wrap up all kinds of California imagery while also underscoring a bit of the shadow as well: “Sun down, blood horizon, now it feels all right/ No one feels the darkness down in the valley tonight.” Musical novocaine. Down In The Valley – The Broken West
NIGHTTIMING Coconut Records This clever, humble, and thoroughly enjoyable album from Coconut Records (the nom de rock of actor Jason Schwartzman) came out of absolutely nowhere this year in a stealth digital-only release that spread like wildfire. Normally we can all agree that actors making music spells disaster, but in this case it absolutely spells y-a-y. Schwartzman blends some of the jangly California indie-pop of his previous work with Phantom Planet with his experience in composing film scores for this aural delight. No two tracks alike: the Weezer rock of “Back To You” flips over the lo-fi duet on “Mama” (with Zooey Deschanel?) and the scratchy dabble into Beatles pop with “Easy Girl” is a million miles from the disco beats of the title track or the Franz Ferdinand stomp on “Minding My Own Business.” The album is eclectic, stripped of pretension and ready to make you smile. Back To You – Coconut Records
THE REMINDER Feist The completely charming and effortlessly cool Leslie Feist covers a lot of ground on this album, her third of original solo material, in addition to her releases with the Broken Social Scene. Feist is musically adventurous with a sound that is impossible to pin down. Moving easily from intimate songs like “The Park” that aches like a midnight dirge sung lying flat, looking out a darkened window, to the spiritual-gospel handclap community of “Sea Lion Woman,” you never know what the next track will bring. The only common thread among the songs is her gorgeously honey-drenched, knowingly sly voice. Feist possesses a welcome imaginative streak that she’s not afraid to reveal on this album. She deserves every ounce of recognition that Apple commercial got her in 2007; anyone who conceives of the idea to do a rainbow-hued dance video clothed in spangles to a song that good gets my respect. I wait in breathless anticipation to see what she does next. My Moon, My Man – Feist
WE BELONG TO THE STAGGERING EVENING Ike Reilly Assassination Call it defiant pre-punk, cranked-up ’50s rock’n'roll that slipped past the censors, or just some seriously good music. Ike Reilly writes unflinching rock songs full of bluesy, boozy, humid, rock riffs and intelligent, biting, evocative lyrics that make me want to take off with him through the desert on the run from the cops, the windows down and a knowing glance between us. Ike’s not ripping off a halcyon era of memories past like some of the retro-influenced acts today (Brian Setzer, I love you, but I’m talking to you), but rather he feels like an earnest, fierce character who somehow slipped in from a time when the music was rawer, the sex was furtive, and the liquor was bootlegged. This is a fiercely fantastic album that provocatively edged itself into my top ten the first time I listened to it. Valentine’s Day in Juarez – Ike Reilly
And yes, since you asked, my membership in the bloggers guild is currently under review for revocation for not listening to Arcade Fire or Radiohead in 2007. I’ll keep you posted.
I was supposed to see Josh Ritter in Boulder last night but my tire had other opinions about the matter, unfortunately. So I missed what sounds like a fantastic show – a friend who was there just reported back that Ritter covered Modest Mouse’s “Tiny Cities Made of Ashes” (!!) — a tremendous song. Here’s a video clip I found from the night before the Colorado show, so I can pretend I was there:
JOSH RITTER: HARRISBURG –> TINY CITIES MADE OF ASHES (live in Minneapolis, 10/17/07)
REMAINING TOUR DATES JOSH RITTER WITH FULL BAND 20-Oct-07 Boise, ID – Egyptian Theater 21-Oct-07 Seattle, WA – Showbox 22-Oct-07 Portland, OR – Aladdin Theater 24-Oct-07 San Francisco, CA – Bimbo’s 365 Club 25-Oct-07 Los Angeles, CA – El Rey 27-Oct-07 Tucson, AZ -Plush 29-Oct-07 Austin, TX – The Parish 31-Oct-07 Birmingham, AL – Workplay Theater 01-Nov-07 Atlanta, GA – Variety Playhouse 02-Nov-07 Nashville, TN – Exit/Inn 03-Nov-07 Louisville, KY – Headliners 04-Nov-07 Newport, KY – Southgate House 05-Nov-07 Carrboro, NC – Cat’s Cradle 07-Nov-07 Philadelphia, PA – World Cafe Live 09-Nov-07 New York, NY – Webster Hall
I was recently talking to a merch guy at The Bluebird, and was stoked to find out that CU Denver has a neat-looking degree program in Music Industry Studies with their very own student-run record label. Equally cool are the breadth of courses offered at Berklee (not Berkeley) School of Music. I always thought Berklee (in Boston) was just a high-falutin music performance school, like if you’re really really good on the cello, you go there. But they also have courses in songwriting, music business, music production, film scoring etc that you can take online.
We’re All Stuck Out In The Desert Johnathan Rice A friend recommended I listen to this guy after he recently swung through town opening for gf-Jenny Lewis’ Rilo Kiley. I’d heard his name (I always say it extra-breathy in my head with that seemingly-bonus “h” in the first name) but never listened to him before now. Wow, I like this guy: Scottish-roots, New York-dwelling Rice has an addictive, warmly catchy sound with the feel-good lyrics of the summer: “We’re all stuck out in the desert, and we’re gonna die.” Right on. He’s toured with Neal Casal of The Cardinals — see the video of them performing this song in grand festival style at Hyde Park. Further North is his sophomore album, and it’s out now. If he looks vaguely familiar, it might be because played Roy Orbison in Walk The Line. So cool.
Can’t Change Me (French version) Chris Cornell In honor of Chris Cornell rescheduling his date with Denver (it’s November 20th at the Fillmore), I want to share this fantastic French version of his solo song “Can’t Change Me” from his 1999 solo album Euphoria Morning. Cornell has an absolutely breathtaking set of pipes (even though yes we can admit he’s stretching them a bit after all these years) and when you combine it with a gorgeous Romance language? Ridiculous and so much fun — sexy, dangerous fun.
Modern Diet The Redwalls Fresh-faced Chicago retro powerpop group The Redwalls finally have an album completed and a release date! In just one month, we can all enjoy their first full-length album released since they parted ways with Capitol. Now on Mad Dragon Records (which is a student-run label from Drexel University, how cool), they have a pow-pop-bang new self-titled joint out on October 23. This first sample feels a bit more Eighties-danceable feel to me than the straightforward ’60s guitar fuzz of the past. I absolutely love their sound, love their output. They are currently on tour with Rooney and I plan to see them next month when they swing through here; they put on an excellent show.
The River (Springsteen cover) Josh Ritter This cover is one that has set the masses a-buzzin’ the few times that Idaho singer/songwriter Josh Ritter has performed it. Ritter gets the Springsteen (and Dylan) comparisons all the time, but still it’s a daunting task to cover this song. He earnestly and beautifully nails it. This was a bonus encore track not streamed online from the WXPN free noontime concert back in August. Friends who were there say it was absolutely magical, and that you could have heard a pin drop. Stream the rest of the main set here, and do yourself a favor by picking up his new album, The Historical Conquests of Josh Ritter. [photo credit]
Let My Love Open The Door Joe Purdy duet with Pete Townshend The Attic Jam series is something I’ve been meaning to write a post on, and still intend to once I find full audio from these amazing sets. Pete Townshend and his ladyfriend Rachel Fuller have hosted several of these jam-session evenings blending Pete’s performances with some of their favorite up-and-coming songwriters, as well as established artists. They’ve welcomed everyone from Billy Corgan, E from Eels and Ben Harper, along with guys like Willy Mason and California folk artist Joe Purdy. Joe is a bit of an anomaly in that he doesn’t want to be signed, but prefers to self-release — over 10 albums since 2004. He gives his stuff away for free, and has had his tunes show up on Grey’s Anatomy, my beloved LOST (come on, Feb 08!) and House. I like that refreshing spirit and the homey sincerity of his voice on this wonderful collaboration.
Freshly back from the annual summit of record label and radio folks up in Boulder (I didn’t fit into either category; I just happily observed and chit-chatted, gratefully partaking in a bunch of good showcase shows).
First up was the side-achingly-hilarious Matt Nathanson, rocking through a solid set of mostly new material which sounded fantastic. Even though he had to face an oddly pugilistic audience, he handily slayed them all with his sharp wit, leaving one golf-shirted middle-aged heckler kind of speechless (the guy made some random crack about Matt “giving it up” in prison, to which I believe Matt called him a big hairy beast and told him to wear something frilly so he had something to grab on to).
Despite all the distractions (or maybe because of them), I thought it was a great show. The full band sounds tight and energetic, and the new material has a razor-sharp emotional edge to it that smacks with a welcome realism about long-term relationships. I hope to have a little interview-dealie with him sometime this week, for those of you playing along at home. Matt’s new album Some Mad Hope comes out August 14th — here’s one song off it that alternately sounds like his own special Prince nu-wave ditty, mixed seamlessly with the Ryan Adams song “Gimme A Sign.” I like it.
MATT NATHANSON: To The Beat of Our Noisy Hearts (new, live 8/1/07)
And this one always, always gets me. A perfect little song, which the audience appreciated and sang along with:
MATT NATHANSON: Angel (live 8/1/07)
After Matt Nathanson the place kinda cleared out to go across the street to the sweet little digs of Lulu’s Kitchen, a teensy venue with a warm vibe from the owner of Albums On The Hill. Fionn Regan had just completed his set (all I can say is he looked the rockstar part with floppy satin vest and skinny jeans) and Willy Mason was performing an affecting little tune that I understand is new, called “I’ve Been Waiting For You” (maybe). I’d seen him back at Noise Pop (come to think of it, on a night where I also saw Josh Ritter and ran into Matt Nathanson. WHOA glitch in the matrix).
So yes, then Josh Ritter had a late-night set back at the spa/hotel thing where the conference was based, in the Xanadu conference room no joke. I was extremely excited to see this show as the new album is rocking my socks. I sat there all barely-contained with friend Bodie, who was just as excited as me. Bodie lavishes credit upon me for helping to introduce him to Josh’s music with Thin Blue Flame back in 05. He owes me.
So Josh was circulating through the crowd (dapper, as usual, in his white suit — he said he likes to “dress for the occasion”) and I got a chance to talk to him. What a wonderful, happy human being. He glows with excitement about what he is doing.
He also TOTALLY copped to the similarities between new song “Rumors” posted in last week’s Monday Music Roundup) and Britney Spears’ Toxic. I wouldn’t have believed it –I thought it was just me hearing things and being a little too fond of the video– but I asked and he concurred. His new album The Historical Conquests of Josh Ritter is out August 21 and Amazon just wrote that it “may be the best album of 2007, hands down, by the most under-accorded American musical genius.” He blew the crowd away with a set of mostly new material (aka rocking) but also the fantastic “Wolves” and desired “Kathleen” — oh, and “Girl In The War,” which I never tire of.
JOSH RITTER: Rumors (new, live 8/1/07)
In addition to Some Velvet Blog’s Bruce Warren enjoying all the conference festivities alongside me (from the astoundingly good WXPN radio station out in Philly), Wednesday ended with me staying the night, coincidentally enough, at a hotel in Denver with lovely blogger C from Scatter O Light. She was taking a break from her Bono-spotting in NYC to come to Denver for work. It was a blogger bacchanalia.
Thursday brought more good live performances, first a luncheon with Robbers on High Street (more from them on Monday) and melodic and wistful Australian rockers Augie March. I mentioned Augie March this past Monday, and they were excellent live – nuanced and passionate and inventive. Their song “One Crowded Hour” fairly takes flight in live performance, and I absolutely adored it and the feelings it evoked in me. I think that song could be huge this summer (it was incidentally re-recorded for the U.S. release at the same studios in San Francisco that Creedence used to work at).
After the show Glenn Richards from Augie March used my cell phone to call my little brother at work in San Diego, as he’s a huge fan. “Hello Brian? This is Glenn, from Augie March.” Officially consider me the world’s best big sister now.
And finally, why not a third Ryan Adams show in two weeks? Why not. This one was shortened, acoustic, and OPENING FOR PAULA COLE. How did that happen? Maybe the artist with the most underarm hair got the top billing. Or something.
Ryan and The Cardinals delivered a very musically solid, professional, enjoyable set which is exactly what I think he needed to show these folks. Although the concert was open to the public, probably at least half the audience were records and radio folks, many of whom saw Ryan last in Louisville at another convention where he was apparently Silent Ryan again, not speaking, wearing a hoodie and allegedly a shower cap for the whole performance in the almost-complete darkness. So I was really glad that he demonstrated (again) for the doubters how good he can be. The setlist (thanks Mandy!) was:
Let It Ride kicked in the gorgeous slow way and I didn’t start recording fast enough, but look how well the band gels together for the rest of it:
RYAN ADAMS: Let It Ride (live 8/2/07)
The setlist was many of the same songs he’s been playing lately, none of The Big Hits. There was no face melting, no extended jams, but we did get some wonderfully self-effacing banter — this clip picks up with Ryan talking about some of the traits that have been associated with him over the years: “Professionalism, happiness….”:
I was bone-crunchingly exhausted after the event was over, partly from the many shows and partly from just the constant talking to interesting people, but I am recovered now. Let’s do it next year.
Name: Heather Browne Location: Colorado, originally by way of California
"I love the relationship that anyone has with music: because there's something in us that is beyond the reach of words, something that eludes and defies our best attempts to spit it out. It's the best part of us, probably, the richest and strangest part..."
—Nick Hornby, Songbook
"Music has always been a matter of energy to me, a question of Fuel. Sentimental people call it Inspiration, but what they really mean is Fuel." —Hunter S. Thompson
"I am fuel, you are friends / we got the means to make amends."
—Pearl Jam, Leash
Mp3s are for sampling purposes, kinda like when they give you the cheese cube at Costco, knowing that you'll often go home with having bought the whole 7 lb. spiced Brie log. They are left up for a limited time. If you LIKE the music, go and support these artists, buy their schwag, go to their concerts, purchase their CDs/records and tell all your friends. If you represent an artist or a label and would prefer that I remove a link to an mp3, please email me at browneheather@gmail.com
Submissions
Got something I should hear? Email me at browneheather@gmail.com. Digital's usually best, but music submissions can also be sent to: Fuel/Friends, PO Box 64011, Colorado Springs, CO 80962-4011.
compilation.
Ryan and The Cardinals delivered a very musically solid, professional, enjoyable set which is exactly what I think he needed to show these folks. Although the concert was open to the public, probably at least half the audience were records and radio folks, many of whom saw Ryan last in Louisville at another convention where he was apparently Silent Ryan again, not speaking, wearing a hoodie and allegedly a shower cap for the whole performance in the almost-complete darkness. So I was really glad that he demonstrated (again) for the doubters how good he can be. The setlist (thanks Mandy!) was:
Let It Ride kicked in the gorgeous slow way and I didn’t start recording fast enough, but look how well the band gels together for the rest of it:
Name: Heather Browne
