Yea, I was there in 2019 too and it was just a supremely awesome day. Widening the scope of bands (75 Dollar Bill! Bridget St. John! Laraaji!) is purely added value.
Steep, I agree, but given all the lost opportunity in 2020 and making this a longer, objectively "bigger" event I can see the cost justified.
I don't find myself going back to Highway 61 all that much, but it's the first record that really made me appreciate Dylan's fever-dream turns of phrase.
"The sun isn't yellow, it's chicken" from Tombstone Blues is one of my favorites.
Josh Kaufman and I are on the same wavelength with "Isis." Though, whether or not it's a good song? Anyone who has watched and appreciated Rolling Thunder Revu would say "hell yes it is."
Top three Dylan tunes on of 5/24/2021:
1) Visions of Johanna
2) Not Dark Yet
3) Seven Curses (this is the spot that rotates on a daily basis).
I disagree with pretty much everything above, but wrt the vibes (and this might be a stretch with its relative obscurity) I was getting Michael Nau "Less than Positive" vibes on the groove.
Vocal styles don't need to contrast to complement. Look at Maggie and Terre Roche.
I remember seeing Kreyshawn at the one and done Popped Music Festival in Philly back in 2011. She came after Titus Andronicus and Rakim. What a weird (but really good) day of music.
IIRC, I really liked her set!
Also shout out to Billy Preston. A friend of mine just turned me onto "Outta-Sight," which up until a few weeks ago had somehow avoided my ears completely.
It's pretty much unfuckwithable across the board. Definitely an album that my favorite songs and moments evolved over months and months of listening.
Somewhat related, I've been relentlessly listening to the Willie Dunn anthology Light in the Attic just issued, and I thought to myself "I haven't felt this particular way about an album since 'Singing Saw.'"
I had this pre-ordered vinyl in 2011 and remember this being true.
I could be misremembering, but I feel like there was this sweet spot, pre-Spotify era circa 2011 when vinyl was becoming really popular. Prices were still cheap enough that it wasn't too much above the cost to buy from iTunes.
I've never heard Pinkshift until now, but I'm looking forward to what's next.
My brain may be worn from a long work week, but some of the vocal affectections and drum break remind me of Helena-era MCR. Which I mean in a good way.
The interplay between Bill's vocals and Matt Kinsey's guitar on this song made me really appreciate how important their partnership is.
This record is a 10/10.
Strong dog, weak dog meme:
Mdou Moctar: The French have invaded Niger, executed Leftist revolutionaries, and stolen the uranium reserves while 90% of the country is without electricity. This is a song about the exploitation of our land by imperialistic and colonizing nations. Also, I will rip out your ears with my piping hot, searing electric guitar riffs.
Unnamed American Indie Artist: Our art looks like jail bars and is kind of cringe. Here's an overwrought and unnecessary apology with a sad song about my dying tomato plant, lol.
Oh this is wonderful. Katie finished off her set at Woodist in 2019 with "Fruits of my Labor" which was absolutely fantastic. Bonnie Doon as the backing band.
Man, what a great day.
I don't remember the specifics of the movie, since I don't think I've seen it since I saw it in theaters, but describing someone's extreme body odor like "wet garbage on a hot day" has been part of my lexicon ever since.
Listened through twice this morning. Colossally good.
Are the kids hip to Floating Points? Does this record have the potential to get Pharoah to new audiences?
Way Down In the Rust Bucket is peak Horse! Not to mention in the video they all seem to be having such a damn good time.
I've been loving it, and know it's going to be my driving around, windows-down album of the spring and summer.
Ever since River, Daniel's music has toed this delicate line of true-to-form guitar soli vs. a more iconoclastic direction. I thought the field recordings he brought in on Morning Star was so thoughtful and moving, but at it's core still had these really great, well-composed meditations. Glad it seems he's staying in that direction.
Naming the album Axacan is really interesting, too. Composed music like Daniel's always struck me as meditative in the sense that not only did it feel personally meditative, but that I'm actively experiencing someone else's meditation (which you know, I suppose is part of the point). So I'd be curious to learn about where Axacan came into play here, as it was a Spanish colony in northern Virginia (assuming near where Daniel lives) and how it influenced the compositions and how they were recorded.
Hey Tom, you guys should do a "Catching Up With" Daniel so he can answer my questions. Thanks in advance.
Comments