Tag Archives: Uncle Tupelo
Uncle Tupelo : Looking For A Way Out
I made this slide show to one of my (many) favorite Uncle Tupelo songs (from Still Feel Gone) a few years back. It’s not prefect by any means but I wanted to capture the feeling of living in small towns (in Texas in this case) and ‘looking for a way out’. Whether or not that is always the right way forward or not I am not too sure about, but I guess a lot of people can relate to that urge, I certainly can or rather could when I was younger.
Jeff Tweedy : Remember The Mountain Bed (Live At Farm Aid 25)
Ex-Uncle Tupelo and now Wilco singer/songwriter and guitar player Jeff Tweedy just as I like him best. Solo, acoustic and heartfelt (actually, the same can be said about most artists).
Michelle Shocked : Arkansas Traveler
(1992 Polygram Records)
Arkansas Traveler, the third and last album Michelle Shocked released for Mercury/Polygram records ‘received little commercial notice’ according to Shocked’s Wikipedia entry. Which shows you exactly how underrated this album is. Not only to ‘the public’ (which proves once again how poor taste it has, generally speaking), but also in the music critics and opinions – at leat that is the impression you get looking for information about the album in places such as her own website, not to mention other places you would expect to find one of the classic and most amazing Roots music records ever. It’s not really mentioned all too often and when it is it’s mostly the album that didn’t do well – a greatly undeserved accolade.
It was, fortunately, however re-released together with her other early work on her own Mighty Sound label, made possible thanks to the fact that she retained the rights to her work when she signed to Mercury (wise move, that). Which means that if you don’t know the album you should still be able to get it should my review entice you to do that. The album I am writing about here however is the original 1992 version.
She is undoubtedly best known and most revered for her 1988 album Shot Sharped Shocked with its iconic cover image – and the standout track Anchorage, her ‘greatest’ (and pretty much only) chart hit. However good that album is (haven’t heard that in ages I have to confess, as I don’t currently own a copy – it’s been on my to-buy list for a very long time). Of course I love Anchorage a lot too (how can you not?), but Arkansas Traveler is most definitely my favorite album of hers by a long shot.
Even just reading a list of the artists involved on here is jaw-dropping, really. And that’s a long list indeed, but I just have to give you that here,although I am not too keen on name-dropping generally: The Band. Don Was/Mitchell Froom/Jerry Scheff/Kenny Aronoff. The Red Clay Ramblers (w/Bernie Leadon). The Hothouse Flowers (Anybody rembering them?). Uncle Tupelo. Taj Mahal. Doc Watson (R.I.P) & Jerry Douglas. Alison Krauss & Union Station.Rising Fawn String Ensemble (feat. Norman and Nancy Blake). (Paul Kelly) & The Messengers. Jimmy Driftwood (R.I.P.) Her father ‘Dollar Bill’ and brother Max Johnston (later of Uncle Tupelo, Wilco and The Gourds).
So far, so good. Just names. But what this list doesn’t tell you is what each and every single artist mentioned here (and the ones not mentioned by name in their respective bands) contributes to making this album, well, one of the best albums of all-time, especially as far as Roots music is concerned. I kid you not. Of course this is an entirely personal and subjective matter. But the sheer quality you get on each track is utterly amazing. I would assume she had the time of her life recording this album – although getting all the artists together must have been a hell of a lot of work. Pleasant in nature of course, but doubtless there must have been a lot of hurdles to get them all to commit to this project. But given they must have all been artists for which the joy of playing comes first it most probably didn’t take them too much convincing to join the fun. In any case all of the tracks on the album are brimful with energy, enthusiasm and the fun I assume was had by all is palpable anywhere, but especially in her vocals.
Irish band The Hothouse Flowers for example. Not the first band you would expect to creep up on here, but they were huge in the late 1980’s, if only for a short time (if I remember correctly). I have got no idea what became of them, but their track on here is brilliant. It’s pretty much a classical upbeat Irish Folk tune, with Tin Whistle, Bodhran and Bouzouki and it sounds exactly as you would expect it to, best part is the high-speed part towards the end – full of joy and as entertaining as the best songs that fall into that category ever sounded.
Album opener 33RPM Soul and Hold Me Back (Frankie And Johnny) are both Soul and Rhythm&Blues influenced guitar pop songs – both influences not among my favorite musical styles, but nevertheless I very much like and enjoy them both considerably. Especially Frankie And Johnny (which pretty much everybody knows in one version or the other) is a lot of fun, being recorded in Memphis’ Sun Studio and with Clarence ‘Gatemouth’ Brown on viola and a couple of brass instruments courtesy of Brown’s band Gate’s Express it’s a classic example of that city’s musical sound. Come A Long Way sounds a bit like Anchorage but to describe it simply as a successor to that song merely written to have a follow-up hit, which sounds quite shady, would be very wrong. It’s great and a lovely, airy semi-acoustic song – it has been always somewhere in my head for the past 22 years, full of ringing acoustic guitars, harmonica and mandolins and a nice, imaginative story about Los Angeles, the city Shocked now calls her home.
Secret To A Long Life has written The Band (although I have to confess to a rather sketchy familiarity of their work) all over it, with Garth Hudson’s unmistakable Accordion the most prominent instrument. Contest Coming, recorded with the until then unbeknownst to me, Red Clay Ramblers (excellent name that btw), is the first track on here steeped ankle-(actually rather knee)-deep in traditional music with entirely acoustic instruments such as Banjo, Accordion, Fiddle and the like – the result ia a good-natured romp through Bluegrass and Hillbilly with a short vocal and a longer up-speed and instrumental Jam-band part.
Shaking Hands (Soldier’s Joy) is one of the tracks I most probably bought this album for, being recorded with what then (and still is nowadays) one of my favorite bands during the early 1990’s Uncle Tupelo. It’s also the only track on the album on which the vocals are mainly handled by somebody other than Michelle Shocked, in this case Uncle Tupelo’s Jay Farrar. If you have been following this blog since the beginning you will know how much I admire their work (and especially Farrar’s, although I have to admit I haven’t celebrated their class on here not nearly enough, but that is still to come). Anyway, Soldier’s Joy, the well-known fiddle tune with its roots in British Folk music is nowadays mainly known for its Civil War area meaning and features lyrics told by soldiers fighting on the Confederate side – absolutely fitting then that this track was chosen for them, hailing from Belleville, IL, just outside of Missouri. Musically it’s very much indicative of how they sounded in this time period, it could’ve been lifted straight from their 1993 album Anodyne. Apparently during the recording they got to know Shocked’s brother Max Johnston who would end up playing on that album as well as later in Wilco. It’s the most rocking track on the album with a driving beat and a field snare drum, although a mandolin provides the most prominent sound flourish for me.
Jump Jim Crow features only Michelle Shocked’s (or as she called herself throughout the album Arkansas Traveller’s) mandolin and voice and Taj Mahal’s guitar – his vocal contributions however are limited to growled/grunted ‘mmmh’s and ‘hhh’s. This sounds a tad stupid written here, but actually it sounds bloody amazing. The music is reduced, primeval acoustic Folk-Blues at its very best.
The following three tracks Strawberry Jam, Prodigal Daughter and Blackberry Blossom root the album even more in traditional Roots music – and up the ante even more in terms of pure loveliness. Shocked’s crystal-clear voice and Doc Watson/Jerry Douglas/Mark O’Connor’s outstanding work on guitar/Dobro and fiddle respectively work wonderfully on the relaxed Strawberry Jam. Prodigal Daughter with Alison Krauss & Union Station starts off utterly gorgeous too with both voices complementing each other very well in the first part of the song and Krauss’ fiddle hovering over the sound to very fine effect. That’s only the first 3 and a half minutes though, the other 3 minutes are given over to a breakneck-speed Bluegrass hoedown. Fantastic stuff.
Blackberry Blossom is probably the loveliest of them all. It features Norman and Nancy Blake doing what they do best, namely playing a flatpick guitar and cello (James Bryant’s fiddle work is not bad either). The result is a slightly melancholic and almost classical chamber music piece of work, with delicate and highly accomplished contributions by everybody involved.
Weaving Way with musical backing by Paul Kelly’s Messengers is a bit more conventional again, not very remarkable stylistically, but a fine guitar-centric Pop song nevertheless. Unfortunately Paul Kelly himself is not present on the finished track – he was another one of my favorite artists back then and in the late 1980’s and big in his native Australia, so I would have loved to hear his voice too.
The last two tracks on the album Arkansas Traveler and Woody Guthrie’s Woody’s Rag finish off the album in style, tucked at the end of the album they are both high points of it in my opinion. Both tracks are pretty much a family affair, with Shocked accompanied by her dad ‘Dollar’ Bill Johnston on Mandolin and her brother Max on guitar, with The Eagles’ Bernie Leadon (who also plays a rather large role throughout the album) the only non-family member (on both tracks he’s playing the Banjo). Arkansas Traveler is a largely instrumental track, only intermitted by a couple of short conversation pieces between an Arkansas farmer and a guy that’s lost and asking him for the way. They are very funny and original indeed: ‘hey farmer you been livin’ here all your life? Not yet.’ or ‘hey farmer, when you gonna fix that leakin’ roof? Aah, stranger, when it rains it’s too wet to fix it, and when it’s dry it’s as good as any man’s house’.
Woody’s Rag is rather short instrumental and sounds exactly as the title implies and is a great way to end this most amazing album indeed. As you will have noticed by now I absolutely adore it and I am slowly running out of superlatives to describe just how much I do.
Listening to the album of course it is not really a surprise that Mercury/Polygram probably didn’t handle that release very well and that for Shocked’s fans it was maybe a step too far into archaic Roots music territory. But I can’t help but wonder if that could be different nowadays as that kind of music is a bit more fashionable thanks to the popularity of films such as the Coen Brother’s O Brother Where Art Tho? and artists such as Old Crow Medicine Show and Gillian Welch (and Dave Rawlings).
However, as I said before, for me it’s one of the very best albums out there and never far from my stereo – although I did neglect it for a few years and probably did not listen to it as often as I should have back then (although I loved it from the beginning). But I was young and foolish then so it wasn’t ‘cool’ then (you know how it is, don’t you? ). Thanks God I’m a bit wiser now.
Sorry if that review turned out a bit long – I was just trying to give the album the justice it deserves, even though I know very few people will get to read it, on my little blog not many people know about.
Richard Buckner : Bloomed
It’s been 20 years since Bloomed was originally released on German label Glitterhouse Records. It became, at least for me, an integral part of the Alternative Country music experience. 20 years later I still count it as one of the very best. On top of my head I can only count Uncle Tupelo’s March 16-20, 1992 as having a similar profound impact on my life as a music lover and being quite as excellent as well as related in sound, from that period.
Fast forward to March 2014 and the album is re-released on Buckner’s current label home Merge Records, bless them for it. Haven’t got that release (yet!), but I hope that some of you reading and not knowing what I am talking about, will possible be encouraged to check it out (it’s even released on vinyl, all you vinyl buffs out there).
Let me tell you, you are in for a hell of a treat. Some of the facts first. At the time living in San Francisco and playing in a band called The Doubters, Buckner recorded this album in Lubbock and Austin, TX with producer Llyoyd Maines and a bunch of artists that Maines recruited, Texas music legend Butch Hancock amongst them. To say these musicians and their contributions are merely the icing on the cake would be both wrong and right. Right, because, as the 5 bonus tracks (also included on the Merge re-release) on the 1999 Rykodisc/Slow River re-release I am writing about here, attest to, show, that none of the 12 tracks on the original album would be something short of brilliant without them. Wrong because they are absolutely stunning and outstanding. (Almost) exclusively acoustic instruments, no drums (just a tiny bit of percussion) add to the airy, open and crystal clear sound, with Buckner’s striking (once heard, never forgotten) Californian drawl that is very well suited to the music found on here.
To call it Alternative Country is maybe a little bit misleading but it’s certainly not straight, old-fashioned Country either. It’s very hard to name personal faves on here – I love all of the 17 songs on here, really. The range of different moods encountered on Bloomed range from the dark, brooding and slow (22, Mud, This Is Where), to the lively, uptempo songs, such as Daisychain and Rainsquall and everything in between. Buckner’s excellent acoustic guitar work is always featured prominent in the mix, but as I said before, the cast of aces accompanying him add a whole lot to making the album as great as it is too. Take Surprise, AZ, featuring some exquisite harmonica by Butch Hancock and a Dobro by Lloyd Maines alongside Buckner’s acoustic guitar and what you get is one of the best and loveliest songs I have ever heard. Album opener Blue And Wonder is augmented to fine effect by Joe Carr’s mandolin, Rainsquall features a what I suppose to be slightly distorted and quite loud pedal steel guitar to rather dramatic, but well suited to the lyrics of the song, effect.
To mention all of the great contributions Lloyd Maines adds to Bloomed would be very cumbersome indeed, but as he is well-known musician I hope some of you know what he is capable of – being not intimately acquainted with his work I would say he outclassed himself on here (feel free to correct me).
Also adding to considerably to Bloomed’s quality are Buckner’s lyrics. Although they are mainly about personal matters and relationships, both imagined and experienced, but when listening to the album I have to say I’m taking a long road trip in my mind. Imagining it starting in California and ending in Texas you probably get the right idea of what I’m talking about.
Sights and people encountered in small, modest towns on a long drive (The Last Ride) and during a rainstorm on the highway (Rainsquall) while thinking about a woman in a ‘Gauzy Dress In The Sun’. Perhaps it’s indicative of the American psyche of having time to think about you, your own little world and the people inhabiting it while being on the road is what the album’s lyrics are all about. They contribute a whole lot to Bloomed’s appeal for me.
It’s a real shame that Richard Buckner’s career has been so fragmented and never lived up to the things promised on this album – I pretty much lost track of his work after 1998’s Since. Maybe it’s the fact that he’s supposedly not being very easy to work with preventing him having a stable working relationship with some people, musicians and label-wise, that would be befitting for his music and career. But that’s pure speculation on my part and he’s worked with Merge Records for the last 10 years so I may be wrong.
In any case, Bloomed is an utterly fabulous album, and my words cannot begin to adequately describe its class and certainly not how much I adore it.
Son Volt : Honky Tonk
Son Volt : Honky Tonk
2013 Rounder Records
Son Volt and me go back a long time. I have been listening to their records since their first album Trace came out back in 1995. But I have to admit that I stopped listening to their new records after Wide Swing Tremolo. The excellent compilation
A Retrospective 1995 – 2000 rekindled my love for their music when it was released in 2005, but I didn’t buy their next records Okemah And The Melody Of Riot and The Search. The first new record in which Jay Farrar was involved with after that time I bought was his collaboration with Death Cab For Cutie’s Benjamin Gibbard on the Jack Kerouac-themed One Fast Move Or I’m Gone, (which is a fantastic record and which I will be writing about on here at some point in the future). I meant to buy the 2009 album Central American Dust, but didn’t manage to do so far, so that is still on my to-buy list.
After hearing only good things about Honky Tonk I bought it – and I don’t regret doing so. The first question coming to mind is: Is this still Alt.Country? As the title implies, it is leaning pretty far towards old-school Country more than the contemporary Alternative Country style Jay Farrar helped to create and define with Uncle Tupelo and Son Volt over the past 20 years or so.
There’s even a song on here called Bakersfield which sounds exactly as you would expect, it’s the most Country-Rocking song on the album and probably wouldn’t sound at all out of place in a Honky-Tonk bar in, well, Bakersfield. Even the lyrics such as ‘… there’s more brick walls than bridges on the way to your heart…’ could probably be found on songs played on mainstream Country radio stations – a far cry from the lyrics of early Uncle Tupelo recordings such as Still Feel Gone or March 16-20, 1992. Gone are the occasional harder rocking songs found on the early Son Volt albums (such as Route from Trace or Straightface from Wide Swing Tremolo). Mark Spencer’s pedal steel guitar is all over the place on the album and the songs are mainly slow to mid-tempo (and quite short, some of them are barely over 2 minutes long), but I like the slowed down ones best, which make the pedal steel guitar sounds exactly as I like it – I always loved their sound, not so much because they are a staple in Country music, but for their otherworldly, dreamy sound characteristic. Especially good are Angel of the Blues and Down The Highway which both fall into this category. In addition, Angel Of the Blues is probably one of the best songs he’s ever written, although the arrangement does play a big part in making the song as good as it is – the pedal steel guitar is the most prominent instrument you hear, the song very slowed-down, full of melancholic longing, a heavenly, if dusty, ode to the American heartland of which the band clearly is a child. Wild Side and Livin’ On (the latter featuring a lovely Accordion) are both other fine examples of Farrar’s knack for writing slow, dreamy songs immediately driving a hook in your heart (mine at least), such as Too Early or Tear Stained Eye (both from Trace), always the reason I loved Son Volt records so much.
The fiddle on Down The Highway actually sounds more Celtic than American (which is of course not all that surprising), contributing to making the song another highlight of the album for me, the eternal hope of finding better things (love in this case), somewhere far away – down the highway. The super-catchyTears of Change, Seawall with its dueling fiddle and pedal steel guitar providing the instrumental flourishes, and Barricades with a number of changes in speed are more of the good stuff, but it is album closer Shine On with some unusual sound effects and slightly dragging drums, providing a bit of sonic variety, perhaps lacking on most other tracks of Honky Tonk. So I am holding my breath how the next Son Volt album will sound.
Uncle Tupelo : The Seven Inch Singles
I am very happy to report that I finally own this beauty
For those of you that don’t know this, it features the following 7” singles released between 1990 and 1992
Sauget Wind (always one of my favourite Uncle Tupelo songs) b/w Looking For A Way Out (Acoustic) and Take My Word
I Got Drunk b/w (Gram Parson’s) Sin City
Gun b/w I Wanna Destroy You (R. Hitchcock)
and That Year b/w Pickle River, that 7” was never released before in this form (That Year is from a 1988 demo called Live And Otherwise and Pickle River from another self released demo called Colorblind & Rhymeless)
Backroad Bound: An Introduction on Mixcloud
This is the first post on my newly created blog – a mix I did showcasing some of the artists you can expect to be covered on here in the near future:
Moonshiner : Uncle Tupelo
Tom Ames’ Prayer : Steve Earle
Daddy’s Little Pumpkin : John Prine
Border Radio : The Blasters
Luke the Drifter : Dan Bern
Indianapolis : The Bottle Rockets
Her Eyes Dart Round : The Felice Brothers
Sault Sainte Marie : Joe Henry
Looking For Lewis & Clark : The Long Ryders
Arkansas Traveler : Michelle Shocked
Thanksgiving Waltz : Molly Mason & Jay Ungar
Big Whiskers : Otis Gibbs
Down To The River : Dave Moore
Mickey Of Alphabet City : Rave-Ups
Throw Another Cap On The Fire : Sam Doores + Riley Downing & The Tumbleweeds
Breakfast In Hell : Slaid Cleaves
Bus Station : Dave Alvin
Looking at the World Through a Windshield : Son Volt
I Hear Them All : Old Crow Medicine Show
If The Brakeman Turns My Way : Bright Eyes
Gracefully Facedown : The Devil Makes Three
Round Here : Counting Crows
Barroom Girls : Gillian Welch
American Hearts : AA Bondy