Especially the take on “Beth/Rest.” Sometimes a beautiful song is just a beautiful song.* Get too wound up in postmodern ironically-detached hipster deconstruction coolism and pretty soon yer chewin’ yer own tail.
*Our four-year-old favors “Michicant” because that’s the one with the bicycle-bell (Chinese bells, I’m told, but around here, it’s a bicycle bell).
This post is in response to a request from Brendon over there on the Facebook page:
Hey Mike, where can I find a copy of that reading you read at the Eau Claire Bon Iver concert? It seems like pieces of it are in Truck, but I’m pretty sure it’s not the same … Afterall, gun deer’s right around the corner.
OK, Brendon, her goes (and yah, there are some riffs from Truck and elsewhere): (more…)
Every since I was introduced to his music on a cassette in a boombox played by my friend Gene in a basement while playing darts (follow that?), John Prine has been a leading literary influence (yep, literary – musical of course, but primarily literary) on my writing.
I have never met John Prine, but it is among one of the more unexpected honors of my haphazard life that I was invited to collaborate with Justin on the liner notes for the album. The final revisions were completed at my desk, but I marked up the rough draft while sitting in a deer stand.
After I put up this post, a few folks asked about the harmonies on the title song from the Tiny Pilot album. Most were supplied by Long Beds guitarist, keyboardist, and resident crooner extraordinaire Chris Ramey, who does not always croon. As for the haunting vocals heard just behind the lines, “Tell me little mother’s son” and “Oh, this short, sharp life,” they were provided by friend, neighbor, and Long Beds guitarist emeritusJustin Vernon, who these days works on somesideprojects.