In early June, I saw Buffalo Springfield at the tenth anniversary of Bonnaroo, easily one the most enjoyable days of my life. If you've never been to Bonnaroo, it's a four-day music fest nestled not too far from the stretch of Interstate 24 that connects Nashville and Chattanooga. It was my second trip to "the farm," as they call it, and this year I had a good 40-minute walk from my campsite to the main festival grounds (ie, where the music is). So, let me translate that for you: once I left my tent, there was no going back until dark. Every damn day.
Oh, and you wake up at six or seven every damn day at Bonnaroo (and you're lucky if you make it to bed by two). The sun is your boss, and when you open your eyes you immediately realize you must get up, hangover be damned, energy be damned. You get up, you eat something, you chill for a bit, and you go. Or, at least that's how I do it. I don't waste much time at festivals.
And on that Saturday morning, I was on a mission -- to be front row for Buffalo Springfield.
This meant getting to the Which Stage around 2:30 to start a line, one that actually had already been formed at Noon by a few happy Canadians and hippies (if you're wondering, you must get in line to have "pit access" at Bonnaroo at the Which and What stages. The pit clears out in between acts, giving more people a chance to be close -- a great idea, if you ask me). Fortunately, these were the nicest people I could have met, as we all took turns holding our spot in line, which allowed me to sneak off to see Gary Clark Jr., a true badass on guitar. (Don't believe me? Watch this.)
The Which Stage was a blast on that day -- we got to see Old Crow Medicine Show and Mumford & Sons from our spot in line (okay, we really only heard them). It turned out to be so much easier than starting a line at the What Stage, which is the biggest stage at Bonnaroo (if you're already confused, just imagine being there: You: "Hey, I'm going to the Which Stage" Your friend: "What?" You: "No, Which.")
Finally, around 8:00, we were let in the pit area, and we raced to the front. Fully knowing that Neil Young would be stage left, I darted to that exact spot with my new friends. I remember laughing, smiling, drinking for the next hour -- slowly realizing that, holy crap (!), there were gonna be about 70,000 freaks behind us while Buffalo Springfield played one of their only shows in the past 40 years (it actually turned out to be their last of 2011, perhaps last ever).
I'm writing this to tell you that live music will quite possibly never get so exciting for me again in my life. The waiting, as it turned out, was the easy part. The hard part? Well, controlling my emotions when they opened with "On The Way Home," and holding my camera steady when Neil Young totally went off during "Mr. Soul."
Ladies and gentlemen, I give you my favorite live music moment of 2011: Oh, hello, Mr. Soul, I dropped by to pick up a reason. For me, it doesn't get better than this moment.
I'll leave you with one final thought, and it revolves around Adele's fabulous song, "Rolling in the Deep." When I first heard this song, I remember sitting (dancing?) in my cube at work, thinking to myself, "What the hell does 'Rolling in the Deep' mean?"
I believe that when most people think of Adele, they think of this sad, young woman who just can't get over her ex-boyfriend, that her songs are 100% vengeful and/or sad. But, when you really listen to "Rolling in the Deep" and the songs on 21, I'm not so sure that is accurate.
"...the phrase "rolling in the deep" is sort of my adaptation of a kind of slang, slur phrase in the UK called "roll deep," which means to have someone, always have someone that has your back, and you're never on your own, if you're ever in trouble you've always got someone who's going to come and help you fight it or whatever like that. And that's how I felt in the relationship that the record's about, especially "Rolling in the Deep." That's how I felt, you know, I thought that's what I was always going to have, and um, it ended up not being the case."
New Year's Eve can be hard, man. It's usually flavored with the cynicism of downtrodden naysayers or the overly high expectations of innocent eager beavers (see: all the people who paid money to see this). Between the solo whiskey sippers and the prix fixe four course dinners at The Melting Pot, the happy medium can be difficult to achieve.
So, you want a laid back, yet waaaay fun, New Year's Eve that still feels different - more special - than your typical night out in Saint Louie?
You've come to the right place.
May we suggest the annual FREE par-tay at one of our favorite music venues in town, Off Broadway (co-hosted by Speakers in Code and New Belgium)? Nope, we didn't stutter. We said FREE.
For the second year in a row (and we attended last year's shindig, so we can affirm the fun factor), The Blind Eyes and Kentucky Knife Fight are kicking the night off with mouthwatering live sets of the rock 'n' roll variety. Local supergroup, Dino's House Band, will finish the night off real propa like with a tasty selection of covers and obscurities. Get ready for special guest appearances from Cassie Morgan, Beth Bombara, John Joern (Old Lights), David Beeman (Old Lights), Kristin Dennis (Née), and many more! Expect DJ Christian Schaffer (of The Dive Poets) to play the hot jams in between sets. Oh yes, there will be dancing. Probably to some Billy Ocean.
The event is 21+, and your smile gets you inside. Doors are at 7:30 PM; music starts at 8:00 PM. RSVP on Facebook HERE.
Because we're old fashioned like that, we asked some of the evening's stars to set the mood by sharing their 2012 New Year's resolutions with us.
James Baker (Kentucky Knife Fight): [I resolve] to be more like Mark Twain, but in a bad way.
Curt Brewer (Kentucky Knife Fight):
This year I plan on gaining enough weight to make it onto The Biggest Loser then I plan to start smoking to lose said weight. Bam.
Kristin Dennis (Née):
My New Year's resolution for 2012 is to party hard all year long until December 21st when the end of the Mayan calender brings about an apocalyptic galactic alignment and, ultimately, the end of time.
Jason Koenig (Kentucky Knife Fight):
This year, I plan to learn Portuguese and to finally get my career as a hand model off the ground.
Matt Picker (The Blind Eyes):
1) Try to convince Seth to write more than one song this year. 2) Continue not caring about Lady Gaga (in human or CGI-chipmunk form). 3) Draw more skulls. 4) Attempt to finish Repo Man without falling asleep. 5) Learn to play a decent shuffle beat so I can show up that no-good James Baker once and for all.
Seth Porter (The Blind Eyes):
In the tradition of Jimmy Buffet's "Margaritaville," Rupert Holmes's "Escape (The Pina Colada Song)," and Bob Dylan's "Hurricane," I resolve to write a hit song based around a fruity cocktail. Perhaps a Bermuda Rum Swizzle or a Gin Gin Mule. Also, I will learn to field dress a deer.
Christian Schaeffer (The Dive Poets):
1) Take better care of my dress shoes. A litte polish goes a long way. 2) Stop leaning so hard on Earth, Wind & Fire in my DJ sets. 3) Allow the current wave of saxophone solos in indie rock songs to pass by and not get so angry about it.
Kevin Schneider (The Blind Eyes):
I plan to meet, engage in conversation with, and befriend acclaimed actor Ryan Gosling. By the end of the year, I hope to have sufficiently earned his trust so that I may lure him, unwittingly, into erotic servitude.
Andy White (The Blind Eyes):
My New Year's resolution is to not cut my hair or shave for all of 2012; then, New Year's Eve 2012, I will shave my head and beard, and at midnight, eat it all.
And, with that, we bid you adieu...until Saturday night where pants will be danced off, and this music blog will kiss you at midnight. Happy New Year, friends!
We're taking a miniature blogging break to celebrate the holidays and ring in the new year real propa like, but before we depart, here's a round up of the bright and merry songs that made their way to our inboxes this December.
We'll be back in action on our SECOND birthday, January 4th. Hope you all enjoy yourselves.
Well, friends, the end is no longer near. It's here. The end of our Best Songs of 2011 countdown, that is. The real end comes next December, as we all know.
Perhaps it's no surprise that Bon Iver landed the number one spot with the track, "Holocene." But, amazingly, the song and the record itself is one that the four of us, each with, at times, quite divergent musical taste, can agree upon. It's fitting that we found common ground in such beauty.
To listen to our entire list of 100 favorite songs from this year, visit us at Spotify. Stay tuned for our list of the Best Albums of 2011 coming Monday.
Yup. It's that time of year again, and frankly, lists like these really need no introduction. The four of us who contribute to Speakers in Code (Darren, Jason, Matt, and me, the lone female, Katie) spend a lot of our free time investigating new music over the course of each year, and these 100 songs are what really caught our attention. Granted, we're just four people doing this in our off hours, when we're not lawyering or teaching or parenting or collaborating on conference calls with our colleagues in India. We don't hear it all. Yet, this list represents what we four music lovers fell in love with in 2011. Maybe you can find something to fall in love with, too.
Take a look at our favorite songs of the year, numbers 100 to 76. (And keep up with the countdown on Spotify, here.)
We first met Markéta Irglová five years ago, when she was only 18, a quiet and charming character in Once, the film about music and love that stole hearts around the world. Irglová's "almost-relationship" in the movie with fellow musician Glen Hansard became a reality when a real-life relationship blossomed, and then, suddenly, ended.
Irglová and Hansard formed the Swell Season, and their musical and personal journey was recently made into another movie, The Swell Season. It mostly focuses on tough times and personal struggles between the two artists -- their conversations, their dreams, their life at home and on the road.
It finds Irglová in a new role, one much different than the character she played in Once. We find that Irglová is a woman with pure confidence in herself, and we learn a lot about her core beliefs in The Swell Season, one of the strongest documentaries in the past few years. It's an emotional journey, especially the moments when we're taken behind the scenes and into the personal lives of two musicians who faced a bright moment of fame after winning an Academy Award for Best Original Song in 2007.
Irglová and Hansard may have gone their separate ways, personally and musically, in the past year, but both are not resting on their laurels. Hansard recently found himself on a solo tour opening for Eddie Vedder, and the Czech-born Irglová released her first solo album, Anar, a collection of personal songs that has received critical acclaim.
We were recently offered the wonderful opportunity to speak with Irglová about her solo career, The Swell Season, and what happened that night at the Oscars in 2007. Enjoy.
With the release of your first solo record, and the tour, what's sort of going through your mind right now?
I'm honestly just really, really excited. This project started out as a small one, and it's kind of blossomed into this full-grown thing that is just blowing me away at the moment. I'm just really happy that the record is out there now, and that we're doing these shows -- and I'm not doing them alone -- I'm doing them with my friends, and I'm really happy they're a part of it. For me, this is a very new experience, you know, and I'm really excited about it, because I love playing music and I loved making this record. So, it's definitely a great time for me.
Would you say these songs are personal for you?
Oh yeah, very. I mean, I don't think I could write songs that weren't personal for me. I could, but I wouldn't like it; it wouldn't be interesting to me. What I like about writing songs is that, you know, I go and I dig deep within and I ask myself questions, and I ask the world questions, and I come to conclusions and I express whatever truth I find for myself. If they weren't personal or somehow true to me, I don't think I could expect anybody else to find anything true in them for themselves, you know?
Definitely. Is there anything different about writing these for a solo record versus writing them for a Swell Season record?
No, not really, it's just that I'm writing more songs! (laughs) I mean, I would always, up until now, write two or three songs each year, because that was kind of the dynamic of the Swell Season, and I was pretty comfortable with that and I didn't feel like changing it at all. I knew that it was always mainly Glen's songs, and I that I would have two or three songs on the record.
It was only when I knew that the Swell Season was going to take a break that I decided to create the circumstances to continue making music, and I became a little more committed to being a songwriter, and a little more disciplined to sit at the piano every day. The more songs you write, the better you get, so I definitely feel like my songwriting has been enriched a little bit, so that's a good feeling.
You're only 23, and your career has already taken you through a lot of big moments. Has that helped you become confident?
Yeah, definitely it has. Working with Glen...Glen has been very good in terms of being supportive and encouraging to me, and he's always treated me as an equal. I've observed him writing music and creating music, and the role he has given me, the weight he has attributed to my opinion -- all of those things have made me more confident. So, he's helped me tremendously, and of course, whatever success we've had so far has only added to that.
For a long time in the Swell Season, I was just going with the flow, and it was only until I knew we were going to take a break...and I was facing the decision to stop making music or continue making music in whatever shape or form I can create for myself. And having made the decision to continue, and to create the experience for myself has been a very empowering feeling. So, once I accepted the responsibility of being a musician, and this is what I want to do, there has been a sense of confidence that has come with that decision. And it feels very nice.
Was it difficult at the start, though, to not have Glen there?
I definitely miss Glen and miss the guys in the Swell Season very much. Our time together, we have shared so much, and have had such incredible times, and difficult times, too. Those times kind of bond you closer. I definitely have been missing the idea -- the feeling of being part of the Swell Season family. At the same time, I've been enjoying the feeling of something very liberating -- like Glen is not there to go to for approval or validation -- I have to believe in the songs myself. I feel like that was an important stage for me, to find the kind of confidence I was talking about.
And so, I also know that all things in life have a start and an end, and as much as there is always a sense of mourning when an end comes, there should also be a feeling of excitement that there is a new beginning. I also feel like none of my friendships with the guys are over, so I know that there will possibly be another Swell Season record sooner or later. So, yeah.
Living in the moment for what it is is a good thing for music, I'm sure. Going back to the record, my favorite song is "For Old Times' Sake." That's the one that really hit home for me. Can you talk a little bit about what that one means to you?
Yeah, that song was kind of written about the idea that...I feel that all relationships are very complex, they are never just straightforward. And I feel like that song is acknowledging that one layer of the relationship is peeling off, and you're shedding that layer, and as much as a sense of sadness that comes with that, it's just not all of the relationship. And the only way to discover whatever good about that layer is, is to allow that layer that is old and worn out to shed, and to let it go, and not suffer.
By letting go of the old, there can be room for something new to spring to life. There can be so much more if you allow it to move to that new level, you know? I feel like at the end of parting, there should only be gratitude -- to thank the person for the good and the bad, for all that you have shared together. The person who you were with was only a teacher. There is great liberation in that approach, that you're not unwilling to forgive...or thinking that some unforgiveness is going to keep a person prisoner -- you're only holding yourself prisoner. So, the song says that there should be nothing but gratitude at this parting from one another.
I sense a new beginning in a lot of these songs. Learning from everything that happens in your life.
Yeah, you're right. In general, it's a theme that I'm very much interested in, only because we experience it every day, and you kind of have to strive to be that person -- the person who is not afraid to let go, who is always ready to embrace the next experience. It holds a lot of relevance to me, you know?
For sure. Well, one more question, and here goes nothing. The first time I saw you perform was at the Oscars, on television, when you won an Oscar. And they brought you back out to say a few words, after it had looked like you were not going to be able to thank people and say a few words. How did that happen? How did you get your moment?
Well, it was kind of a misunderstanding, to be honest with you. When Glen and I were talking, prior to the Oscars, we were given this DVD of Tom Hanks telling you, "Okay, you've been nominated, and congratulations, and in preparation of the event, these are the things you should know." I don't really remember the advice of what was being given, but what I do remember was that he was saying that from the moment your name gets called out, you only have one minute until they want you off stage, and that's including the time it takes you to get to the stage.
And I was talking to Glen before the event, I was saying to Glen, "Look, let's not abuse our welcome if we do find ourselves up there receiving the award. So, if we get called up, you just say a few words, and I will say 'thank you.'" Because, again, that was our dynamic -- Glen usually does all the talking on stage, and he is a very good talker! And also, it just felt like Glen should be given room to say something, if we were given the award. So, that was my idea.
And when we were receiving the award, Glen did say a few words, and I did go to the microphone to say, 'Thank you very much." And that's all I wanted to say, so I walked off the stage. And I didn't realize at that moment that the microphone had been turned off, or that the music had started, you know? I simply just said what I wanted to say and I walked off.
So, we go off stage, and we have our champagne, and we're taking our photograph with our award, and they told me, "Oh, don't go yet, they were just saying they want you back on stage so you can give your speech." And I was so high on the experience, so elevated, that I really didn't know what they were saying completely, but I was just like, "Okay, okay, I will say it."
And then, Jon Stewart was announcing me to come back on stage, and only in that moment did I realize that, "Oh my God, this is actually part of the televised show!" And when I was walking on stage, I was wondering what I was going to say...so I decided to just reach within and express whatever it was the most prominent feeling of mine in that second. And that was...I had this overwhelming sense of love -- I had enough love in my heart at that moment for everyone in the room, everyone in the world. I was so overjoyed. It was an extraordinary feeling for me.
Joy just gives birth to love, you know? And so, I felt incredibly connected with everybody, and I really wished to express in that moment the idea of us being interconnected -- that the moment didn't just belong to Glen and I, that the moment belonged to everybody who wants to be part of the moment or share the same dream or needed that encouragement. And I tried to express that no matter what, we're all one, and we're all connected. I honestly have always been the person who completely believes the unbelievable, the person who sees possible in the impossible. I truly believe that openness has been exactly what has brought this experience into my life. I do believe that.
Former Dawes member, Alex Casnoff, has a new thing going. Having spent the past few years playing only other people's music, he's finally ready to birth his new musical baby, Harriet. The Los Angeles-based band is inspired by storytellers and filmmakers, and this influence can undoubtedly be heard on today's Jam of the Day.
Harriet's debut EP, Tell The Right Story, comes out in January. In the meantime, listen to our pick for JOTD, ahem, "I Slept With All Your Mothers." In your face.
On Wednesday evening in Saint Louis, Rachael Yamagata will be bringing her new songs to Blueberry Hill (purchase tickets here), including the stellar "Even If I Don't," a tune you need to hear right now. Seriously, right now (the video is cool, too).
The last time the singer-songwriter was in town, she thrilled us with an solo set at The Pageant, opening for the Swell Season. This time around, she'll be with a full band, hopefully delivering most of Chesapeake, and older tunes like "Worn Me Down," "Elephants," and "Be Be Your Love."
We recently had the chance to catch up with Rachael over the phone. Enjoy!
How are you, Rachael?
I'm good, I'm good. We're just leaving a station in Kansas City, and we're going to Denver. We've got a big drive today.
Well, we're waiting for you in St. Louis.
Excellent. Yeah, we're going to circle back!
So how's the tour going so far?
It's kicking our butt actually! It's amazing. A lot of travel, living off of very little sleep, the shows have been awesome. We've been experiencing as much as we can in each city, and we're having a blast.
Are you with a full band?
I am, we're a total of six all together. Five in the band, and then one doing sound and tour managing.
Well, your new album hits the listener right away with a flood of sound. It makes sense that you would want to flesh out the sound a bit on tour. Is that what has been going on?
Yeah, I mean, I've been gone so long in terms of my touring routes that I felt like I wanted to initially to come out with big, splashy arrangements of the full production to showcase this record and its full glory. But, I definitely want to do the next round as maybe a stripped-down acoustic string production, something to change it up creatively would be nice. But the first go-around, I wanted to give it all I had.
If there's one thing I wanted to tell you...the first song on each of your albums...you have to break my heart each time.
(laughing) I love it! That's so good. So, you're a romantic at heart, I guess? All right!
(laughing) Well, I think with the last record, I think it was more of a darker record. And the new one, I don't want to call this one a happy-go-lucky kind of deal, but...
Yeah, you're right, though. Elephants, I think, was the first record after the new life of kind of getting signed as an artist, going through all the loneliness that comes with all the touring, being away from home, personal relationships, some people really close to me passing away -- it's me processing a lot of what happened. And with this one, more time has passed, I've gotten older. I think I've gained more experience in terms of what to expect, so there is a little bit of lightheartedness I think that comes with sort of not being so surprised anymore -- things hit you differently. The greatest pain -- you've calmed to it a little bit, it becomes just a fact of life, in a way.
You know, when I listen to these songs, and I hear a line like "Even if I don't, I wanted to," is there a sense of relief in being able to communicate something like that?
There is, actually, That particular song is a message I hope somebody hears. Because I think when somthing ends, the hurt or the anger or the sadness, it gets very black and white because it's revolving around fear and pain and all that stuff. Whereas that song is really like a message of...it's so much more complicated -- I may not come back, but I need you to know how much I wish I could have. So, there is a relief to that. At least it's out there in the world, and maybe it will get back to that person.
That's what I got from that. Maybe some people might overlook it as being a simple song, but that's not what hit me.
I'm glad you said that, because I had a writer do a sort of reflective piece on that song as well, and give it some credit as far as some maturity to the lyric and that it is an important lyric. For me, when I wrote it, and I got to that line, I thought, "Okay, there's the core issue." I've never said it in that way before. It is a layer of something that is very meaningful to me, so I'm glad you picked that up, too. It's certainly what I inteded, yeah.
And also, it's one of the first messages on the album. It's a strong way to begin the album.
Yeah. Oh, thanks!
And it's almost foreshadowing the rest of the album.
I like that. It's always a tricky...sequencing is tricky for me. It's great when you sort of discover a through line that makes sense, and also musically makes sense in the track order. But there is a sort of a bookend thing that happens with that song, and then "Dealbreaker" is the last song, and it kind of has a bookend effect to it, too.
How are these transforming onto the live environment?
It's been really fun, because there's a lot of strings and keyboards (in these songs), and we don't have any strings with us. It's working really well. And the harmonies -- all of these guys on the road can sing, and I've never had a choral harmony effect on stage, and there's so much of that in the record. And weaving in some of these older songs as well, because I like to play some of the favorites from the last record. That's been pretty fun forming that. It's sort of strategic, too, to introduce new material to an audience.
Is that difficult for you?
We make it work. I think there is a craft to it. I think there's a way to do it that is effective, but it's always changing. It's fun for me. Touring really is fun. But, it's also kicking my ass. It's both at the same time. I think I'm still enjoying it enough to be doing it. As things go on, we'll see how it goes. Right now, we're driving nine hours in a van, so we'll see when we get there.
It's the most wonderful time of the year. Well, for some people. For others, it's the most hurried, nervous, pressure-filled time of the year. A time when we miss people, when family gatherings don't always come to be. A time when we can't always get what we want.
And maybe Matthew Ryan just recognizes the reality around him -- that we need to slow down, to focus on what's real.
The more I listen to Ryan's latest album, I Recall Standing As Though Nothing Could Fall, I wonder if it's about that point in your life when you realize that time is precious, and that if you could, you would spend every second with someone you love.
Some people get religion Some people get the truth I never get the truth I never get the truth
I want to get this out of the way, even if I've already said it numerous times: Brandi Carlile is ridiculously good at what she does. If you haven't found her songs, or maybe think she's just another "singer-songwriter" who will lull you to sleep, let's put a couple things to rest.
One, Carlile, as she proved last night at The Blue Note, is a flawless solo performer, as special as they come, complete with confidence and an absolute engaging stage presence, both of which complement her once-in-a-generation voice and songs. Two, as wonderful as she is by herself, she's just as good with her full band in tow, fully capable of "rocking out," "slaying," "killing it," or whatever it is that your favorite band might do on stage.
But, last night was about Carlile's ability to present her musical gifts while alone. And sometimes, that's greater than the sum of what any band can offer.
Let me explain.
There's a common misconception about live music that a person alone with a guitar is somehow weakened or at the mercy of his or her limitations -- that after a few songs, they'll all start to sound the same. I hear this all the time. And I don't buy it.
The truth is that is an extreme case of flawed thinking. The options a musician has while alone, with no booming electric guitar, bass, and drums, are indeed limitless -- and it can be a beautiful thing, if you're really willing to listen (and in some cases, like last night, participate). Perhaps it's the repressive idea that a solo performer always has to come off as sad and lonely, tortured, boring, too serious, or has to deliver a song in a sub par state, in terms of energy of potential.
Or maybe it's simply that not every artist out there can make a solo performance seem special. Carlile, thankfully, understands the task at hand. For example, a few songs into her set, when it was clear that the audience was ready to give her whatever she wanted on this evening, Carlile stepped away from the microphone, walked to the front of the stage and delivered one of her best songs, "What Can I Say," without the help of amplification.
Before she started, she explained that her attempt to bring everyone together in the room might be futile. And sure, with a full bar in the back of the venue, with clanking bottles, and a few conversations, the song could have derailed. But, her attempt at a communal moment worked -- we sang loudly with Carlile, who, I'm sure was hard to hear in the rear balcony.
To hear her voice wasn't really the point, though. The moment came soon after her solo version of "Dreams," where some of the audience literally stomped and hollered, and Carlile was able to channel that energy in a different way, having the room in her versatile grasp at the beginning of the show. When something like this happens -- and works -- it establishes a few things, most importantly showing the crowd that Carlile was in tune with every facet of the show: engagement, pacing, flexibility, grace.
This allowed Carlile to do whatever she wanted the rest of the evening. She gave us stellar versions of Radiohead's "Creep," Roy Orbison's "It's Over," and even told a story about Kings of Leon's "Sex On Fire," which was requested.
"My mom called me on tour once and said, 'Brandi you need to get me this CD -- it's got a song that goes 'Ohhhh...this sex is on fire,'" she told us. "I was happy when that voicemail was finally deleted from my phone."
Carlile even tried out a few new songs, one of which was performed for the second time ever, called "Christmas 1984." "I think I consider this the real first time, because I'm not nervous, and I'm excited for you to hear it," she said. "Not all Christmas songs need to be full of joy and peacefulness. I think this is about how we fight materialism."
There was another new one called "Raise Hell," an upbeat tune that Carlile wrote before she recently turned 30, an "inconsolable time" for the artist. Its message matched her sometimes renegade spirit, and it's sure to be a standout on her next studio album due in 2012.
Later, when she gave the crowd a choice of hearing a Steve Nicks or Patsy Cline cover, and the crowd overwhelmingly screamed for Nicks, she delivered both -- "Landslide" and "Crazy," which made the crowd, uh, crazy -- but not as crazy as her next song, "The Story," the main-set closer. While "The Story" is perhaps the one song that is better heard with her full band, Carlile held nothing back, delivering the chorus with passion. "All of these lines across my face," Carlile sang, "tell you the story of who I am."
Carlile returned with an encore that included two songs from Give Up The Ghost, "Pride and Joy" and "That Year," and two more covers, John Prine's "Angel From Montgomery," which featured an audience member who was invited on stage to sing with Carlile, and Leonard Cohen's "Hallelujah," the show closer.
Of course, "Hallelujah" is often covered by many, perhaps exhausted to the point of producing a sigh, depending on your point of view. But, Carlile's version was beautiful and patient; it sounded fresh, like she had written it on her bus that afternoon. Most importantly, it left everyone in the room with one final live-music memory of 2011.
I don't even know what the following poem means, but it was in the middle of the press release sent out announcing our Jam of the Day, "Rad Times," by Black Bananas. Somehow it's fitting before listening to the song.
I'm your garbage collector
I'll turn your trash to gold
What you cast off is what I hold,
End loafs of bread, black bananas and broken crackers
Scratched records, too dark pictures and torn jeans
All the shit that rips at the seams
Check out "Rad Times" below and feel that funky Prince vibe it exudes. Also, mark your calendars for the proper release of the debut album, Rad Times Xpress IV, which will drop via Drag City January 31st.
It's December, which means you can start blaring that X-mas music, right? I mean, I saw a neon-green Santa today. And I heard an old dude at Burger King whistling "Silver Bells" while he ordered an Icee. It's Christmas time in the city, I tell ya!
This one's a little different, though. It's from Act As If, a band led by Peter Verdell, who can sing just about anything he wants and make it sound awesome -- even a little ditty about sleigh bells and reindeer. It's even being offered to everyone as a free bonus track if you buy Act As If's new EP, The Iron Is Hot. So, go get merry with your damn self here.
Oh, and if you're in L.A., you can catch Act As If at The Hotel Cafe tomorrow night! Just RSVP here.
For now, though, blast this one while you're putting up that tree you may or may not have already purchased (or cut down, right, Clark?).
Remember when Rachael Yamagata opened for The Swell Season at The Pageant in December of 2009 and blew your minds to little fragments, like those pieces of confetti that are still falling from The Pageant's ceiling thanks to The Flaming Lips? Well, Ms. Yamagata is coming back, this time to Blueberry Hill on Wednesday, December 7th (RSVP on FB here), and she's got some new songs to sing. One of which you must. listen. to. right. now.
Don't blame us if this rips your heart out.
If you loved that as much as we do, then we're going to assume you'll want to enter to win tickets to see her. Because, yup, we have two pair to give away to her show at Blueberry Hill. Good luck!!
3. Send
an email to jason.speakersincode@gmail.com
The
contest will run through December 5th at Noon central, and
we'll pick two winners at random and announce them on Facebook and
Twitter (@speakersincode) on that afternoon. Good luck!
