Was struck recently by how distinctly different “Big White Cloud” sounds from the rest of J.J. Cale’s work, then a couple weeks in figured out it was John, not J.J.
Was struck recently by how distinctly different “Big White Cloud” sounds from the rest of J.J. Cale’s work, then a couple weeks in figured out it was John, not J.J.
More photos from the show in Ashippun (daylight photos of the stage here). I like the last shot in the gallery, the one that shows the combine behind us.
The Long Beds and I will be playing in Reedsburg tomorrow.
Like pretty much everyone else I discovered Kathleen Edwards around 2003 when she released Failer, which is one of those albums that never quite made it into the box out there in the pole barn because every few months I’d have a need to hear it again.
Later, after I became a father to two daughters, I found myself listening to Kathleen Edwards from a new perspective, and I’m happy to say that both of my girls regularly request her music when they visit me up here in the typing lair. My wife is also a fan.
So the whole family is real happy that Kathleen Edwards has some new music forthcoming. We’ve been given a sneak-peek/listen here. I like when tough meets beautiful, and “Change the Sheets” is exactly that. And for the story of “Wapusk,” go here.
Also, I am not talking out of school if I tell you we think it’s neat that much of the recording of both of these songs was done just one short rooster-crow from our little farm.
Seriously: somebody give this guy a Guggenheim.
Sadly: turns out story is fake. Thought those quotes were a tad Onion-esque but pulled the trigger anyway. That’s on me.
Really getting into the music of Smokie recently (discovered them as a result of rediscovering this) especially like “Living Next Door to Alice” and “Lay Back in the Arms of Someone.” The cheesy 1970s Euro-television sets are over the top and I especially enjoy how Chris Norman treats lip-synching as an opportunity to clown. This version of “Alice” is particularly surreal.
Tangentially, Smokie led me back to Slade and Sweet. And then London Quireboys.
And yup, I’m aware of the alternate version of “Alice.”
UPDATE: THE NEW MEGAFAUN ALBUM IS NOW OUT (AND AVAILABLE RIGHT HERE).
Brothers Phil and Brad Cook used to come to our farm and hang their runny little noses over the sheep fence to see our lambs every spring. Later in life Phil was a Long Bed for a while (he and that Justin feller played with me at my wedding during the talent show portion) (yes, my wedding had a talent show portion) (actually Phil was a pre-Long Bed) and you can hear his banjo and harmonica on Headwinded. Also this month he became a Dad!
All this to give context to how pleased I am to see the Cook brothers and their friend Joe get the attention they’ve earned … in Rolling Stone, no less.
P.S. Phil is the one missing a beard. Brad is the tall dude. Joe is…well, seriously, I’ve given you enough clues.
Had not listened to this for some time. Lovely. And takes me back to a book tour hotel room in Chicago where I first listened while writing and looking out the window at the Windy City lights.
Courtesy of this fellow, as I recall.
It’s called “Golden in the Morning.” Just me, my guitar, and Jaime at the controls. Here’s a listen:
Golden In The Morning (Single)
From the description:
“I wrote this for my wife, early in our marriage. Now that I have two daughters, the song is still for my wife, but nowadays when I sing that bridge and last verse, I’m thinking too of my children, and the fearful love every parent feels for them while lying awake in the dark of night.”
I’m working hard on the next book (due out in Spring 2012, fingers would be crossed but I can’t type that way), and another soon-to-be-released project also in the works (more on that in a week or two) but the other day while I was in the studio with my friend Jaime I sat down with the guitar and did a simple recording of a song I wrote a while back called “Golden in the Morning.”
For more about why I wrote the song, a look at the lyrics, and to have a listen, please visit this link.