Dexateens – “Spark”
Posted on | November 3, 2009 | No Comments
1. Counting off time with a thumping muted guitar strum, the Dexateens immediately reference Johnny Cash’s Sun Records sound, though considering the conditions under which “Spark”, from their latest record Singlewide was recorded, John Hiatt might be a better comparison. Hiatt’s landmark Crossing Muddy Waters (one of Ed Jurdi’s favorites) was the first record I remember to be recorded on a porch, and this record from the Dexateens makes two. I heard of their second record, Hardwide Healing, through its producer, Patterson Hood of the Drive-By Truckers. The stripped down sound of Singlewide is not as much a departure from their early roots-rock sound as it is a focused effort to highlight the songs rather than the music. “Spark” is a prime example, with the bare instrumentation laying plain Elliott McPherson’s optimistic words.
2. McPherson’s pitched tenor is immediately reminiscent of Gary Louris from the Jayhawks, a comparison reinforced when John Smith enters singing in unison. McPherson’s lyrics speak of hopeful wishing for a “faraway life” without “so much darkness drawn down to ya”, dismissing the negative with “can’t be a shadow or a spark don’t shine”. The rest of the band shuffles in on the chorus, warming McPherson and Smith’s duet that jumps past future glory to reminisce “that I knew you when”, and assuring that the “time will come around again/ If you stick around and see.” The second verse is more endearing encouragement to “wait all night, the sun is gonna find us”, before moving into an understated solo and ending as it began.
3. McPherson doesn’t have a lot to say in this song other than a few hopeful suggestions to a struggling friend. Luckily, he doesn’t try to hide the simplicity of his song with a lot of instrumentation or extra verses. Some of my favorite songs, like Big Star’s “Thirteen” follow this concept. Lyle Lovett said that in songwriting, “having something to say is the hard part. If you get an idea for a song, then it pulls you along.” The Dexateens succeed by not letting a lot get in the way of a simple, good idea.
Rosanne Cash – “Sea of Heartbreak”
Posted on | October 13, 2009 | 2 Comments
1. By now, Rosanne Cash’s new record The List has been pored over by critics, previewed by NPR, and released a week ago. Her renditions of songs from her father’s list of 100 essential songs provide new insight into classic American standards, with warm production by her husband, John Leventhal. One of these songs, Don Gibson’s “Sea of Heartbreak”, was also covered by her father on his second American Recordings release Unchained. The two versions of Gibson’s terribly lonely classic are very different, but both seem to serve the song equally well. Rosanne brings in Bruce Springsteen to assist on background vocals, while her father had Tom Petty (and the Heartbreakers) backing him on much of that entire record. As for whose version is better? That is up to you to decide.
2. Johnny Cash’s work with Rick Rubin stands as a testament to both artist and producer, with Cash’s strong baritone hovering over Rubin’s crisp, acoustic based arrangements. Petty’s drawled count-off leads into a jangly rendition with all the American Recordings’ hallmarks – triangle, layered acoustic guitars, and booming piano fills. Petty has always been underrated as a background singer, a role he displayed on Bob Dylan’s 1986 True Confessions tour, where he and his band opened for the legend, then served as his backing band. His thin tenor lilts over Cash’s recitation, while Benmont Tench’s organ provides a perfect warmth to the track. Rubin, who also produced Petty’s Wildflowers, provides a similar sound here, with the bright accompaniment a worthy foil to Cash’s unmistakable voice.
3. Leventhal and Rosanne take a different approach, with an airy keyboard and a twangy, reverb-heavy guitar providing the only accompaniment before Rosanne’s distinctive alto breaks the ethereal mood. Bruce’s voice is in full croon mode that he showed on Magic’s “Girls in Their Summer Clothes”, more deep-vibrato Roy Orbison than the gritty howl that Springsteen fans are used to. A change of chords on the chorus creates a descending, tension-building pattern that echo the narrator’s desperation. Springsteen’s solo turn on the bridge over a lightly strummed guitar makes it a true duet, rather than just a background cameo.
4. It is hard to pick a favorite of these two tunes. Rosanne’s version is more adult contemporary, similar to a rendition that Sting might turn out if he were prone to covering American classics. Her father’s version is more of an update of his traditional country sound mixed with the Traveling Wilburys (of which Petty was an integral part). Maybe both can be enjoyed without picking a favorite, but in case you haven’t heard either, listen to them below and let me know which version you favor in the comments.
Johnny Cash (with Tom Petty) – Sea of Heartbreak
Rosanne Cash (with Bruce Springsteen) – Sea of Heartbreak
Corb Lund – “Long Gone Saskatchewan”
Posted on | October 5, 2009 | 1 Comment
I talked to Corb a few weeks ago about the music he loves. Read that interview here.
1. To call Corb Lund’s music “country” is absolutely appropriate, if not a bit of an understatement. However, with his fixation on horses, steers, and ranch life, his music might be more accurately labeled as rural. Corb comes from a family of ranchers — both of his grandfathers were cowboys, he grew up listening to them (and Marty Robbins) sing handed-down cowboy songs. On his latest single “Long Gone Saskatchewan” from his first New West release Losin’ Lately Gambler, Lund shares in near-technicolor the joy of leaving the unforgiving city and galloping back to the wide open plains of home.
2. With a click-clack rhythm straight out of Cash’s Tennessee Three, Lund tackles two lost arts at once: humorous country music and the talking blues. Leaving behind the idea of melody for the verse, he packs this rambling yarn full of wordplay, rattling on about leaving his woman (so he can have room for smokes) and heading back to where he can have five times as much land for the same price. The gift of wit is elusive — Robbie Fulks and Rhett Miller seem to have it down, and Corb proves his own aptitude here. Often taking a lighter approach to his music (his last album was a concept record about the horse cavalry), he avoids being corny, recalling Roger Miller and Buck Owens with his droll, tongue in cheek delivery. Lund’s cowboy heritage bleeds through to the countrier-than-thou twang of his music. His fine-tuned band the Hurtin’ Albertans backs him here, with guitarist Grant Siemens pulling together Luther Perkins and Don Rich to narrate the journey back home.
3. Corb Lund continues to define himself as an absolute individual, willing to take chances and follow his muse down any path. “Long Gone Saskatchewan” is a wholly entertaining slice of music that shows no variation from that career trajectory — a refreshing stance in a time where many seem willing to pander to gain an audience.
Corb Lund – Long Gone Saskatchewan
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