Wicked Grin
Fox Confessor Brings the Flood
29
Lady's Bridge
Production is a funny thing these days. We've reached great peaks in terms of what's possible from musician to listener. Then again, it's still very possible to sit down and play sounds into a tin can. However, this latter scenario is slipping from our grasp and at this point, many people's minds have moved on.
The above albums are completely random, given the rise of many so called modern folkies, the aging of so many great popular artists, and the "MTV Unplugged effect." Singer songwriter music has become more than just a hobby, vocation, lifestyle, or genre, it's become a bastard to some and a relaxation to others. It's hard to produce a record as a singer and songwriter that doesn't find it's way into some contrived or cliche can. There's just SO many that are made. Hell, we've all personally known an handful of people who've made them.
Ryan Adams probably defines this the best. He started in one place, graduated to another, and now continues to make sense of it all. I had deep reservations about his early output. It's so easy for these types of albums to come across as soft or weak. Then I heard Jacksonville City Nights, "hey, this guy's doing something here, it's like real country music again, the kind you'd expect on the radio." This album came out during the putter of two other records, Cold Roses and 29. 29 is a conceptual album that you can read about in other places. The important thing is it's truly a listen - each time you hear it you struggle to make sense of it. Each song has a deeply familiar story that comes from a mythical place that's cloudy, dark, and hard to remember. His best work yet, removed from himself, finally. As we can see, he's even struggled to maintain this route.
John Hammond apparently introduced Bob Dylan to the Hawks, the rest is our history! Hammond continues to be one of the only remaining genuine links between the mythical blues and the modern blues. He is the real deal, best live performance I've EVER seen, easily. In the early 2000's, he teamed with Tom Waits to record an album of Waits tunes, blew my brains out - the sheer power in the rhythms, deep tonality of his voice and his ability to invoke the blues drenched in Waits' songs. I wonder if Scarjo ever listened to it...no homework assignment for you today Scarjo, you fail.
When I was inquiring with my lovely woman about "indie rock" a few years back, I challenged her to make a mix of "indie rock" for me, so I might understand how this phrase applies as a genre of music. I remember one tune, "Star Witness." Before she had a chance to advise as to which album to purchase, I'd already hit Willow Lawn in the dead heat of a Richmond summer and sat sweating to Fox Confessor Brings the Flood during my lunch break. You know how the Boss has these "invitations" and "cinematic" qualities to his songs on Born to Run? These are a result of song structure, long melodic introductions and interludes, non traditional verse - chorus chord progressions. Fox has a similar quality to it, only the songs are surreal or distorted takes on Americana. The lyrics sometimes sweet, sometimes haunting. The melodies sweeping, the instrumentation dense, but spacious.
Where would singing and songwriting in popular music be without the Brits. They've made so many great records and adored American musical culture on The Level. Richard Hawley is completely British and makes music that runs deeply into the American musical canon. Lady's Bridge kind of combines this European classicism and American primitism, but not the kind found in 40's, 50's, 60's jazz. This kind is rooted in classical pop and Americana. Think Morrissey meets Orbison. The record is a mature musical offering that showcases Hawley's deeply rich croon, intellectual instrumentative production, and lyrical simplicity. Tonight, the streets are Ours!
This list is subject to addition, as my memory lends itself. I do beg of you to please Comment with your insight for additions to this particular facet of The Pit.
