I arrived in time to see Ben Kweller, followed by Elvis Costello and then Gogol Bordello. The show was intimate, in a forested park and the sound was great. But moreso, maybe my years in San Francisco distorted my expectations, but this was what I expected of Lollapalooza.

The smell of pot mixed with the smell of sweat and patchouli. People from 3 to 73 dressed in carnival ware - one outdoing the other. Slender men and women - most of whom could have walked out of any fashion magazine (especially if you consider High Times to be a fashion mag). Fantastic weather, great sound, very communal atmosphere. And hippies as far as the eye could see.

This was more in line with what I expected at Lollapalooza, but none of that was really present there. To me, Lollapalooza seemed more like a midwest college party, with far more heft.

If Hardly Strictly were the typical festival, I'd be more inclined to go, quite frankly. It put on display one of the things I really enjoyed about living here - not to mention that it was entirely free.

So, one more day on the west coast, then back to Madison for the final push before we launch NewTunes. Sorry for the break, but good to be back writing.

Jon

Every muscle in my body is sore from dancing around like a lunatic to the crazy gypsy punk. You know a show was worth it when you emerge from the pit covered in other peoples' sweat and your feet are pancakes.

Bangelijk goeie serie.

"Beter dan Desperate Housewives" hoorde ik van alle kanten maar het is haast niet vergelijkbaar. Oké, er wordt ook gespot met het hypocriete suburbia (oa. al te zien in de intro) en het gaat ook over -op het eerste gezicht- normale, brave huismoeders én huisvaders en zoals je al zelf al kan bedenken is dat niet echt het geval maar deze serie is toch nog net iets gewaagder en sarcastischer dan die andere Amerikaanse topserie.
Filmisch gezien was het even wennen want ik had de indruk dat de montage wat te povertjes was behandeld in het hele 'filmmaking process' maar ik ben er nu eenmaal aan gewend geraakt en zolang ze die stijl behouden tot op het einde van hun seizoenen kan ik er zeker mee leven.

"Little boxes on the hillside,
little boxes made of ticky tacky.
Little boxes on the hillside,
little boxes all the same"

Ook leuk is het liedje dat de intro begeleidt. Het hele eerste seizoen is dat hetzelfde maar vanaf het tweede seizoen wordt datzelfde liedje steeds ingezongen door bekende en minder bekende gastzangers (Death Cab for Cutie, Regina Spektor, Elvis Costello, etc.).
Als je tijdens het bekijken van zo'n halfuur durende episode van Weeds zelf wat smoort zal je de liedjes tijdens de aftiteling keer op keer ongelofelijk goed vinden.
En oja, als je de cliffhanger van het eerste seizoen al waanzinnig vindt, ga je je een ongeluk verschieten bij die van het tweede seizoen!

Meer ga ik er niet over vertellen enkel dat je het gezien moet hebben!

In a way, listening to Lewis’ new album, Acid Tongue, is akin to this imaginary experience I’ve described (which, by the way, is based on nothing other than her persona on record and at shows, and from an anecdote a friend of mine told me about her from when he booked Rilo Kiley to play a show at Middlebury a few years back. Anyway…). Overall, the record’s great—fun, energetic, lively, rootsy, full of catchy songs, beautiful harmonies, and a languid, restless, seventies country-pop vibe that echoes her first solo release, 2006’s Rabbit Fur Coat. The dark, dysfunctional side to Lewis’ songwriting remains intact here as well, as several of the songs’ protagonists are quite downtrodden and unseemly. After only a few listens, I can definitively say the album is stuck in my head, and I have no doubt it’ll be an iPod staple over the coming fall months.

BUT- stylistically, the record is pretty unoriginal. Lewis does her fair share of style-hopping on Acid Tongue, and it’s difficult to discern whether you’re enjoying the record because of Lewis’ prowess as a songwriter, or because the writing is more of a homage to classic pop, country and R&B than it is an exploration of new musical ground. That said, it’s fitting that she’s brought in so many staples of recent popular music—Elvis Costello, Chris Robinson, M. Ward, to name a few—to help round out the sound on this album. Costello, who’s been known to veer in drastically different musical directions himself (Almost Blue, North, The Juliet Letters, and that album with Burt Bacharach were all fairly jarring departures from classic Costello fare), sounds especially at home with Lewis on “Carpetbaggers”—two troubadours with a like-minded affinity for pan-genre exploration. Like Costello in his more experimental work, Lewis wears her influences on her sleeve, and the experience of listening to Acid Tongue is as much about digging her tunes as it is a nostalgic trip into the annals of the pop music of days gone by.

Lewis is a straightforward songsmith, utilizing simple chord progressions and melodies as the building blocks for her tunes. She’s ultimately successful, though, by exuding an effortless confidence and, yes, striking sexiness that shines through on almost every track. The result is nothing short of mesmerizing. While her songs are indeed a delight to listen to, I can’t help but wonder if I give her more leeway when she offers up pseudo-facsimiles of classic pop motifs than I would, say, a dude with a big beard from Maine. Even when I can hear her going too far—being too audacious, making a trite lyrical choice or a hackneyed chord progression—the bravado with which she carries herself on record is maddeningly alluring. And I know I’m being manipulated, but Lewis is just too fine. What can you do? Just as she would manhandle me if we ever dated, Jenny Lewis has me effortlessly wrapped around her finger, and despite Acid Tongue’s shortcomings, I cannot not listen to it. She really is quite something.

Those aren't always positive traits, of course, especially for Lewis, who doesn't share Costello's encyclopedic knowledge of music, which means that some of her albums give the impression that she's trying too hard, such as her the so-so recent effort from her band Rilo Kiley, Under the Black Light, which feels like an overly studied attempt at funk, and even Rabbit Fur Coat, which, despite being very good, did sometimes feel too affected, as if Lewis was trying to dress up her wordy, hipster indie pop in country-rock clothes. But then, some of these complaints can also be leveled against some of Costello's own weaker efforts, which is why it's a delight to learn that his Momofuku and her Acid Tongue were born out of the same studio sessions. And if the former album afforded Costello a chance to simply be Costello, turning in one of his most unassuming and wonderful sets of songs in some time, the latter provides Lewis with a chance to finally shake off her indie persona and get carried along by the roots music she obviously loves, and to show off her prowess as a a record-maker, a singer, and a songwriter in the process.

And so, filled with special guests-- Costello and his Imposters, Zooey Deschanel on harmony vocals, Benji Hughes, the Black Crowes' Chris Robinson-- and bursting with warmth and spontaneity, Acid Tongue is an absolutely tremendous album, one that finds Lewis shedding her excesses and tightening up her craft for a set that's thrilling, even riveting, and doesn't sacrifice any of her originality or personality. Indeed, one of the great triumphs of the record is the way in which Lewis dives into familiar idioms-- these songs are all in a rich country-rock vein, with some liberal doses of gospel, blues, and singer-songwriter pop-- but still comes out with what is undeniably a Jenny Lewis album. Make no mistake, this is the same woman who oozed smarts and sexuality on all of Rilo Kiley's albums and who has made a name for herself in large part due to her devlishly clever (if sometimes clunky) wordplay and her explorations of love, sex, religion, and politics. But here, for the first time, she know longer sounds like she's trying to be clever, or pretending to be something she's not; rather, this is a wonderfully open-hearted and soulful recording, one that feels like it came from the heart more than the head, one that's devoid of pretense of artifice and simply feels like a big, friendly jam session.

And that's really what it is-- there's a wonderfully low-key vibe to the whole thing that makes it feel very warm and inviting. Lewis doesn't have any problem stretching out for a nine-minute, guitar-rock jam ("The Next Messiah"), or letting loose for a rip-roaring duet with Costello ("Carpetbaggers"), or allowing "Jack Killed Mom" to culminate in an oddball gospel rave. She's equally comfortable channeling Elton John in the haunting, quiet opening number, the chamber-pop "Black Sand," or bringing in her band of background singer to add soulful harmonies to the gospel-flavored title track and the graceful closing number, "Sing a Song for Them."

It's an album that's full of weird detours and wonderful songs, but it all seems to unfold very organically-- the sign of an immensely personal but immaculately crafted album from a first-rate record maker. And there's no doubt that Lewis is in control here, putting her stamp on everything even as she maintains a generous, inviting atmosphere and bringing in so many great guest musicians. She masterfully teases the listener into the album with a pair of coy, seductive opening numbers before hammering three separate songs into one electrifying, storming rock song, "The Next Messiah." She keeps a straight face but also a sense of humor as she and her band bang and thump through the weird fable of "Jack Killed Mom," which sounds for all the world like the best White Stripes song you've never heard before. And throughout the whole thing, Lewis is in fine voice, as a singer as well as a writer, capturing a wide array of emotions with equal parts melancholy, rage, and good humor.

The indie hipster set, of course, will likely fret about Lewis sacrificing the sexiness and smarts that have marked her songwriting in the past, but nothing could be further from the truth; sure, she's ditched her wordiness and her overt cleverness, but that's just because she's tightened up the songwriting, and she exudes even more intelligence and sensuality now that she doesn't sound like she's trying so hard. And though she excels at elusive, slippery metaphors, as on opener "Black Sand," she's at her best when she's crafting short stories and character sketches, which are personal but also universal. Lewis isn't much for navel-gazing or confessional poetry-- rather, she pays cheeky homage to her father in the epic workout "The Next Messiah," a nasty piece of work about a master bullshitter, and she opens up about the life of an artist in some strange and startling ways on the title track. These songs are all tightly-wound, marked by an economy of language and a knack for imagery and cadence; and, if all else fails, some of these songs could probably coast by on their sheer locomotive energy ("Carpetbagger"). Though it all, Lewis shows that she's clearly learned at the feet of absurdist-era Bob Dylan: She can write songs that are born out of her own life, but she makes them sound like weird fever dreams or impressionistic non-sequiters.

Or to say all that another way: This is an album that only Lewis could have made. It bears the stamp of its auteur on every note, even as guests file in and out-- this is a Jenny Lewis album through and through, as masterfully crafted as it is lived-in, risky, and personal. And it's certainly a signal that Lewis is no longer just the young, female, indie-rock version of Elvis Costello; if this rollicking country-rock masterpiece proves anything, it's that Jenny Lewis has come into her own, making an album that mines familiar influences but doing it her way, as no one else could.

So does that mean she qualifies for my actor-turned-singer list?

If so, well, that changes everything. But more on that later...

So as a consolation to the friend who issued the challenge (who just had a birthday, so I need to do something special), I'm going to try my Nick Hornby High Fidelity best to make a Top Ten Songs I'm Obsessed With Right This Minute--the songs that, for whatever reason, I just can't stop listening to this week (and I'm only giving the downloads to her, so the rest of you will have to go out and find these gems on your own).

10.  "Impossible Germany"--Wilco (Album: Sky Blue Sky) 

I have no idea why I love this song so much. All I know is that when I listen to it, I'm in a good mood. And some days, that's really all I need to know. But I also know that this song has some amazing guitar work, and some days, that's all I really need to know as well.

I'm a relative late-comer to Wilco, although I've been aware of them since they were formed in the mid-'90s from the ashes of Uncle Tupelo. And frontman Jeff Tweedy and I grew up in towns that are an hour apart and have a teeny-tiny, so-infinitesimally-small-that-it-doesn't-really-exist connection to each other that's a long story for another post. Anyway, Wilco = awesome, and I'm glad I finally came around to them.

9.    "Euro-Trash Girl"--Cracker (Album: Kerosene Hat)

I'd forgotten that this song even existed until a friend (the other friend who was dared to put together a Top Ten of All Time list, actually) reminded me. I think I heard this song on the radio so much in 1993 that once its popularity faded away, my memories of it faded as well. But I probably appreciate "Euro-Trash Girl" even more now than I did then. I don't know if that says something about the song or something about me.

"Euro-Trash Girl", about what sounds like the craziest European backpacking trip ever, is just awesome from start to finish. Personal highlights for me are the guitar solo (listen at about 5:40) and the lines "Called my mom from a pay phone/Said I'm down to my last/She said "I sent you to college"/"Now go call your dad." Just terrific.

8.   "All I Need"--Radiohead (album: In Rainbows)

I've waxed enthusiastic about In Rainbows before, and I still can't stop listening to it. In fact, it's nearly impossible for me to choose a favorite song from this disk because it's practically flawless from start to finish. But today, "All I Need" is the winner. Today. Tomorrow, something else perhaps. 

"All I Need" is one of those songs that I put in the category of "Songs You Think Are Gonna Be Love Songs But Turn Out to Be Something Very, Very Different" (the two best songs in this category being The Police's "Every Breath You Take" and Elvis Costello's "I Want You"). "All I Need" is a beautifully sad song that builds to an even more beautiful, crashing climax. And I'm a sucker for a beautiful, crashing climax.

7.    "Train in Vain"--The Clash (album: London Calling)

Perhaps one of the most upbeat songs ever written about getting dissed by someone you love, "Train in Vain" is one of the songs on this list that would probably make my all-time Top Ten list. I've loved this song since I was a kid, and I love it so much that I even gave it a role in my first-novel-that-will-probably-never-exist-anywhere-other-than-my-computer's-hard-drive.

One thing in particular that I love about this song is that the drum beat actually sounds like a train chugging down the tracks, and I just think that's cool. And the drum track is the backing loop to another song I was obsessed with for a time--Garbage's "Stupid Girl" (a song I was obsessed with for reasons that should be obvious, given the title). And I think that's cool, too.

6.   "On Your Side"--Pete Yorn (album: musicforthemorningafter)

For me, trying to choose a favorite Pete Yorn song is like trying to choose between my favorite kinds of ice cream--it just sort of depends on what I'm in the mood for at the time. But "On Your Side" is a song I always come back to.

Some songs evoke memories or landscapes, and "On Your Side" always evokes clouds and rain for me because the first time I heard this song was on a rainy day. I can listen to this song when the sun is out, but somehow the song doesn't have the same effect on me (and I can listen to the live version of this song at almost any time and not be moved in quite the same way as I am when I hear the recorded version-weird).

5.    "Two Step"--Dave Matthews Band w/Tim Reynolds and Bela Fleck (Worcester's Centrum Center, Worcester, MA, December 7, 1998)

Please--you knew I wasn't going to get through this list without including at least a few DMB songs, right?

If I showed up at a DMB show and found out that they would be playing the same song over and over for three hours, I would vote for "Two Step." And if I could go back in time to witness one version of this song, I would vote for this version.

This "Two Step" is so good I hardly know where to start. I love the fact that the mix is such that you can hear the crowd singing along. And a definite highlight of this sixteen-minute-plus behemoth is the guitar/banjo duel between Tim Reynolds and Bela Fleck that begins at about the 7:30 mark.

But if you're in a rush and can't listen to the entire song, then listen to about the last six minutes or so. I can't even begin to know how to describe them--they just fall into that category of ineffable music moments that have to be experienced to be understood. I'll just say that the first time I listened to this version of "Two Step," I thought those last six minutes were going to take my head clean off, they're that good. And then at the end, Dave just calmly says "Thank you very much" as if he has no idea that he and his band and his guests have just totally fucked everyone up.

4.    "The Grudge"--Tool (album: Lateralus)

Man, I love me some Tool. And I want to emphasize that "The Grudge" is currently my favorite Tool song, which is sort of like saying that "My second child is currently my favorite child." Because all of Tool's angry little children are good, but the "The Grudge" is the one that's showing up the most on my iPod at the present moment.

This song, which opens Lateralus, is so musically and lyrically phenomenal that most of the time I forget that there are twelve other songs on this album (And what songs! "Schism." "Parabola." "Ticks and Leeches." This album is just a freaking beast.). And if you've ever held a grudge against someone, the kind of grudge that slowly eats you alive, you'll be convinced that Maynard James Keenan is looking into your soul.

3.    "It's a Lie"--Fiction Plane (album: Left Side of the Brain)

Fiction Plane is one of those bands that was pretty much screwed from the beginning, because even though they started out as a four-piece band, they eventually evolved into a three-piece and lead singer/guitarist Joe Sumner assumed the role of lead singer/bassist. While their mere evolution wouldn't be enough in and of itself to doom a band, in this case, Joe Sumner is the son of Gordon Sumner, aka Sting, who was also the lead singer/bassist of a little band that you may have heard of. I don't know if Joe's familial connections are what's keeping Fiction Plane from reaching critical mass or not, but I'm guessing that some people can't get past the relationship. Plus, Joe Sumner happens to look and sound a lot like Sting (Some people don't agree with me on this. These people are wrong.), which probably doesn't help matters much.

I'll be honest--part of the reason I like "It's a Lie" is that it's a bit filthy. Sample lyrics: "Wish I could tell you I'm a better guy/That love is all around/And only real men cry/But all I wanna do is jump your bones/Slam dance all night to the music of your moans. So we're not exactly in "Every Breath You Take" territory here. Actually, I can think of a few relationships I had back in the '90s that would have gone a lot better had the guys in question gotten the previous sentiments out on the table right when we first met--stories that are perhaps best left for another time.

And whether or not he sounds like Sting, I have to admire Joe Sumner's use of "jump your bones" in a song released in 2007. I don't think I've heard that phrase since college, and I'm assuming all parties involved were very, very drunk at the time. 

2.    "American Baby Intro"--Dave Matthews Band (Verizon Wireless Amphitheater, Charlotte, NC, September 19, 2007)

I hate to be one of those DMB fans who always says stuff like "Dude, you so had to be there to appreciate this version of the song." But, Dude, you kind of had to be there to appreciate this version of "American Baby Intro." And I was.

"American Baby Intro" is a neat little summation of what people both like and hate about DMB. The song has almost no lyrics (She said a hundred times/She said a thousand times/Yeah...) and is rarely followed live by the song that it is an introduction to. And this particular version of the song was the longest ever played at that time (nearly twelve minutes), while the version of the song on Stand Up clocks in at just over two minutes--so, yes, they jammed it out to nearly six times its original length. The song, on its face, is so worthless that even some of the DMB hardcore can't stand to hear it live.

But on this particular night in Charlotte, "ABI" was the first song of the encore to one of the best concerts I'd ever seen, hands down. I have a theory that if early on in the show, you can see Dave, Boyd, and Carter looking at each other like they want to rip each other to shreds, then you're in for an intense DMB experience. And on this night, the three of them kept exchanging looks that clearly said, to me, anyway, "Bring it, motherfucker." The show was wall-to-wall intense, with a setlist to match (seriously, add in "#41" and "Grey Street" and I probably would have peed myself right there in front of everyone). By the time "ABI" came around, the band was on fire and so was the crowd.

This "ABI" rises and then slows, and then rises and slows again (thus making it the perfect workout song--I'm just saying). The first rise culminates in a heavy metal scream from Dave (at about 3:27) that was truly one of the most bizarre things I'd ever seen (his mouth was open so wide that I thought his jaw was going to unhinge and then swing around and swallow the rest of his head--that's the only way I know how to describe it). And by the time the second rise climaxed, I felt as though my feet had left the ground several times, carried on the swirl of the music. This occasion was the only time that I can recall feeling literally lifted by music, and I was exhausted by the end of the song. The only thing that even comes close to ruining this version of "ABI" for me is the guy on the tape who keeps yelling "#41!" the whole time. I truly hope someone punched him in the face, because that's what I would have done had he been sitting anywhere in my vicinity.

So I fully expect that almost no one will get my love for this version of this particular song unless they were in Charlotte that night (and the friend who dared me to put together my all-time Top Ten was, so the song has nice memories on another level as well). I can only hope my description has done the atmosphere that night just a little bit of justice.

1.    "Loving Wings"--Dave Matthews Band (Saratoga Performing Arts Center, Saratoga, NY, August 27, 2003)

This song is really two songs in one. The first four minutes is a beautiful little love song with a hypnotic little guitar part repeating in the background. The next five minutes, however, build into an amazing instrumental jam featuring drummer Carter Beauford and late saxophonist LeRoi Moore at their absolute best (and I can't help but feel a little pain when hearing this song, knowing that Roi will never play it again). "Loving Wings" is one of those songs that makes me appreciate the amazing level of musicianship in this band.

Unfortunately, this song has never been recorded, so the only versions are from live shows. Which means that no version of this song exists that doesn't have thousands of drunk people in the background screaming "Wooo!" and "I love you, Dave!"  Try to block that out and enjoy the ride that is "Loving Wings."

Bonus Track (because every good playlist deserves a bonus track): "Spilt Needles"--The Shins (album:Wincing the Night Away)

This song has many memorable lines, but my favorites are: It's like I'm perched on the the handlebars/Of a blind man's bike. I swear I feel this way at least once a day, but no one has ever quite put that feeling into words so eloquently.

Speaking of which...

I received an email a few days ago from a friend of mine, Ryan, asking me oh so persuasively to join him on a preposterous errand that could only end in folly. But in some respects I'm assuming thats the point. He directed me to a website for National Novel Writing Month which happens to be the month of November. The goal which they claim to be "a fun, seat-of-your-pants approach to novel writing" starts November 1st, and you're to attempt to write a 175-page (50,000-word) novel by midnight, November 30. It wasn't clear at first whether he wanted me to actively join in or just hold his hand for emotional support. However after reading through the site and finding out more about the event my interest has been thoroughly piqued.

This is taken from their "What is NaNoWriMo?" page:

"Valuing enthusiasm and perseverance over painstaking craft, NaNoWriMo is a novel-writing program for everyone who has thought fleetingly about writing a novel but has been scared away by the time and effort involved.

Because of the limited writing window, the ONLY thing that matters in NaNoWriMo is output. It's all about quantity, not quality. The kamikaze approach forces you to lower your expectations, take risks, and write on the fly.

Make no mistake: You will be writing a lot of crap. And that's a good thing. By forcing yourself to write so intensely, you are giving yourself permission to make mistakes. To forgo the endless tweaking and editing and just create. To build without tearing down.

As you spend November writing, you can draw comfort from the fact that, all around the world, other National Novel Writing Month participants are going through the same joys and sorrows of producing the Great Frantic Novel. Wrimos meet throughout the month to offer encouragement, commiseration, and—when the thing is done—the kind of raucous celebrations that tend to frighten animals and small children.

In 2007, we had over 100,000 participants. More than 15,000 of them crossed the 50k finish line by the midnight deadline, entering into the annals of NaNoWriMo superstardom forever. They started the month as auto mechanics, out-of-work actors, and middle school English teachers. They walked away novelists."

Their overall approach to how you're to write for the event sounds right up my alley. I mean, comon... "Make no mistake: You will be writing a lot of crap." I write "a lot of crap" ALL THE TIME. I'm pretty sure I can pump out 50,000 words of it in a month. I sent emails to a few of my other friends in hopes of getting them motivated to join in. I think its a great idea. So often we've sat around coming up with really amazing in-depth stories and backgrounds for characters, always saying "Hey we should write a story sometime!" yet never actually following through with it because we are really lazy, or maybe just like myself we all have a hard time putting our work, our creations out there for scrutinization and critique. I've read some of Mark's short stories. They're good. He is certainly someone who should write more. I'm trying to recruit him.

Ryan sent me this and it put me at ease a bit:

"A few things that I appreciate about NaNoWriMo:

1. Crap is expected. Nothing needs to be "worthwhile".
2. Critique is unnecessary. In the end, it's a personal event and you don't need to share a single word.
3. Editing of any sort is looked down upon in order to hasten the stretch to 50,000.

If you spit out 50,000 words in a month, you're going to wind up with at least something you like. The event is mostly a ridiculous motivational tool."

Its been a long time since I've actually done "real" writing. For awhile I was doing a writing exercise daily coming up with short stories that were exactly 101 words long, inspired by and out of homage to Brendan Adkins over at Ommatidia. I don't think a single word I produced ever came anywhere near the quality or art of what he creates, and certainly didn't do justice to his style or what I'm sure I'm capable of. Some were good, some definitely less than mediocre, and overall it was hard for me to tell if it was helping me improve. I think I actually need an editor to help get better in certain areas.

I posted them here if you're interested in looking at them. As I said before I have a hard time putting my stuff out there, so personally I think they're all crap.
http://kcmosier.wordpress.com/

Hopefully by December, whether I think anything I have written is decent or not, I can at the very least claim to be a novelist.

nov·el·ist /ˈnɒvəlɪst/ Pronunciation Key - Show Spelled Pronunciation[nov-uh-list]

–noun

a person who writes novels.

---

[Origin: 1575–85; novel¹ + -ist]

Wouldn't that be nice?

-Moniker Vise
"Red dogs under illegal legs"

Here's my picks for the Sunday edition of the Hardly Strictly Bluegrass music festival at San Francisco's beautiful Golden Gate Park. It's all free and there will be a lot of people there but it's worth it. My wish is that this will help you decide where you want to be when.  Remember, the crowds a each stage will be huge, so give yourself time to get to the next stage and be willing to either stand or lay your blanket pretty far away. The sound systems are powerful but you may want to bring binoculars to see the performers. The weather may warm up midday, but expect the fog to come in around 5 and get windy and cold.  I'll be blogging pics and highlights all next weekend.

Here's a very handy guide created by some folks for the festival.  Viewable on the web, or on an iPhone/mobile.  Lists stages, times, performers, etc., as well as the online buzz around the event. Here's the link...  Here's a link to Joel Selvin's pre-fest interview with Hellman from the SF Chronicle, and here's my tip sheet to start you off...

SUNDAY PICKS (listed by times)

The Wronglers- Porch Stage (11:00am)
This is Promoter/HSB financier Warren Hellman's old-timey band. Look for Heidi Clare on fiddle and perhaps Ron Thomason (Dry Branch Fire Squad), both excellent, to join Warren and friends. Worth checking out at least to give the guy a big round of applause.

Darrell Scott Band - Banjo Stage (11:20am) www.darrellscott.com
Darrell is good taste personified. His new CD of cover tunes is marvelous. Expect to hear a few familiar songs.

Riders in the Sky - Star Stage (12:00pm) www.ridersinthesky.com
Extremely talented act that plays the classic real Western songs from the a bygone era. Great outfits and a must-see if you have kids with you.

Heidi Clare & AtaGallop - Porch Stage (1:10pm) www.heidiclare.com
One of the best old-time fiddle players working today, and a fine singer too.

Ralph Stanley & The Clinch Mountain Boys - Banjo Stage (1:45pm) www.ralphstanley.net
Truly a legend, one of the few first generation Bluegrass artists still alive. Ralph doesn't play much banjo these days but his haunting voice is still amazing. I don't know how many more trips he'll make out west.

The Infamous Stringdusters - Arrow Stage (2:10pm) thestringdusters.com
One of the better young bluegrass bands working today.

Elvis Costello's High Whines & Spirits - Star Stage (2:30pm) www.elviscostello.com
Well, Elvis seems to love playing this festival, and he loves traditional country music. Who knows who he'll have playing with him today. I'm sure it'll be great though.

Earl Scruggs - Banjo Stage (2:55pm) www.earlscruggs.com
Like Ralph Stanley, Earl goes back to the 40's and is a legend, and not getting younger. His sons and other family members play with him.

Iron & Wine -  Rooster Stage (3:25pm) www.ironandwine.com
An intriguing band that's hard to catagorize. They don't really fit in to the Bluegrass/Americana genre but they are quit popular with the college radio crowd.

Pegi Young -  Arrow Stage (4:30pm) www.pegiyoung.com
Wife of Neil...

Justin Townes Earle - Porch Stage (4:40pm) www.bloodshotrecords.com
Son of Steve...

Loudon Wainwright III - Rooster Stage (4:40pm) www.lwiii.com
Father of Rufus...

Emmylou Harris - Banjo Stage (5:45pm) www.emmylou.net
Perhaps the only artist who's played every HSB, and Warren's favorite. She always closes the festival.

Other good choices...

Bill Kirchen - Star Stage (11:00am)

Hazel Dickens -Banjo Stage (12:20pm)

Bonnie "Prince" Billy (Will Oldham) - Rooster Stage (1pm)

Greg Brown - Rooster Stage (2:20pm)

Ricky Skaggs & Kentucky Thunder - Banjo Stage (4:15pm)

Maura O'Connell - Porch Stage (5:45pm)

BIll Frater
Freight Train Boogie

She - Elvis Costello

She
May be the face I can't forget.
A trace of pleasure or regret
May be my treasure or the price I have to pay.
She may be the song that summer sings.
May be the chill that autumn brings.
May be a hundred different things
Within the measure of a day.

She
May be the beauty or the beast.
May be the famine or the feast.
May turn each day into a heaven or a hell.
She may be the mirror of my dreams.
A smile reflected in a stream
She may not be what she may seem
Inside her shell

She who always seems so happy in a crowd.
Whose eyes can be so private and so proud
No one's allowed to see them when they cry.
She may be the love that cannot hope to last
May come to me from shadows of the past.
That I'll remember till the day I die

She
May be the reason I survive
The why and wherefore I'm alive
The one I'll care for through the rough and ready years
Me I'll take her laughter and her tears
And make them all my souvenirs
For where she goes I've got to be
The meaning of my life is

She, she, she

Nee, het laatste album van Rilo Kiley kon ons niet echt bekoren. En ook het optreden van Jenny Lewis’ band op Pukkelpop 2007 was, ondanks dat zilveren speelpakje, eerder een tegenvaller. Maar niet getreurd. Jenny Lewis heeft nog een ander paard om op te wedden: haar solocarrière. Na haar schitterende cd met The Watson Twins is ‘Acid Tongue’ opnieuw een voltreffer.

Waar ‘Rabbit Fur Coat’ duidelijk veel meer aansloot bij traditionele folk en country, neigt haar tweede volwaardig album toch meer de americanakant op. En daarbij schuwt ze de rauwe kant niet. Luister maar naar The Next Messiah. Dit is een volwassen song, opgebouwd uit verschillende hoofdstukken, die samen een mooi in elkaar overlopend geheel vormen. Als je denkt dat het afgelopen is, schiet de band terug in gang en is er die bezwerende mannelijke zang waarrond Lewis haar engelenvocalen laat kronkelen. Uiteindelijk wordt de cirkel dan weer rondgemaakt door terug te komen bij het originele refrein.Bad Man’s World mag dan misschien alleen in onze gedachten refereren aan James Browns klassieker, feit blijft dat die filmische violen intrigerend zijn en gecombineerd met Lewis’ excellente zangkwaliteiten garant staan voor het nodige kippenvel. Het titelnummer maakt nog meer indruk door de eenzame akoestische gitaar en het gospelaspect van de song. Eenvoudige arrangementen en perfecte timing zijn de voornaamste troeven van deze track.

En het houdt niet op. De steel guitar en de schitterende ritmesectie in See Fernando zorgen ervoor dat ook dit tot de hoogtepunten van deze plaat behoren. Bij nader inzien is het trouwens niet eenvoudig om hier een minder nummer uit te moeten vissen. Misschien is Carpetbeggars, het duet met Elvis Costello nog het meest voorspelbaar en daarom het minst interessant, ook al is dat in dit geval een relatief gegeven.

Elvis Costello is trouwens niet de enige die zijn medewerking aan dit album verleende. M. Ward steekt een handje toe op Pretty Bird en ook Davey Faragher (bassist bij Costello), Chris Robinson (Black Crowes) en Paz Lenchantin (op een blauwe maandag samen met Billy Corgan deel uitmakend van Zwan) geven allemaal acte de présence op ‘Acid Tongue’.

Van eindejaarslijstjes zijn wij nooit echt voorstanders geweest, maar als het dan toch moet, maakt deze plaat ongetwijfeld veel kans om daarin hoog genoteerd te worden.

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Browne followed Raitt with a dense, largely leaden set drawn mainly from his new album, "Time the Conqueror," greatly enhanced by roof-raising vocalists Chavonne Morris and Alethea Mills, who brought so much needed vitality and joy to his performance.

Das heutige "Foto des Tages" kam mit Text von Thomas aus Amsterdam.

Er bezieht sich auf eine Anfrage, ob wir auf den poetrYclub-Wohnzimmerkonzerten auch ein paar Covers spielen wollen. Ich hatte von Elvis Costello vorgschlagen, den Song "What´s so funny ´bout peace, love and understanding" zu spielen.

(Elvis Costello performing live at California Academy of Sciences, "The Big Bang", an Opening Gala benefiting education programs at the new Academy on Thursday, September 25 2008.)

Welcome to the first post in what I hope will be a series called "I Was There." Every now and then we'll interview someone in the Nashville area who was there when a popular public television show or concert performance was taped. In this edition, we emailed a few questions to local songwriter and composer Stacy Widelitz, who called me on my cell phone at 11:30 at night recently to tell me he was there when the iconic Roy Orbison & Friends: Black and White Night special was recorded at the Cocoanut Grove in the Ambassador Hotel in Los Angeles on September 21, 1987. He had caught the special during a recent pledge drive where I casually asked the viewing audience to call in and let us know if they were there. I never imagined someone actually would.

[caption id="" align="alignright" width="170" caption="Stacy Widelitz"][/caption]Stacy is an accomplished songwriter and composer, and is probably best known for co-writing the Patrick Swayze smash "She's Like the Wind" for the Dirty Dancing Soundtrack. He also serves as the president of the Nashville Film Festival board, drives a really cool car and is a super nice guy.

I assume this was not open to the public. How did you hear about it and wind up at the show?

Patrick Swayze and his wife, Lisa, had been invited. He was the hottest thing in Hollywood at the time due to the unexpected success of "Dirty Dancing", and we'd been friends and co-writers for a while at that point (we wrote "She's Like The Wind" together). He called me and said to get down to the Ambassador Hotel as quickly as possible, but he wouldn't tell me why. He said, "Trust me, you want to be here". He left my name with security, and when I was ushered in I immediately saw Bruce Springsteen and Elvis Costello onstage. Then I started picking out the other performers, and realized this was a huge deal.

I never get tired of watching the show, but you were actually there. Was it as amazing as I imagine? When you were there, were you aware that you were seeing something historic?

Yes. And it was also enormously entertaining. What one may not realize watching the show, however, is that it took over 3 hours to film. There were retakes, some technical glitches, etc.. But the music was incredible, and the sound in the room was great.

The show remains eternally popular on public television, especially as a pledge special. Why do you think as a concert film it endures?

First, it's Roy Orbison, one of the greatest voices and writers of popular music. He's simply amazing in the show. Second, the sheer number of legendary musicians all onstage at once, and the joyful sense of celebration that comes across from them. Third, the look of the film is great - that grainy black and white captured the feeling in the room perfectly.

Bobby Kennedy was assassinated in the Ambassador Hotel, where this was recorded. Is there some marker there or something in the kitchen acknowledging that?

I went into the kitchen during one of the breaks in filming just to see where Kennedy was shot. It was a very eerie feeling, but there was no marker. As a matter of fact, the hotel was already slated for demolition at that point.

Orbison died just over a year after this was taped. Do you remember when and where you were when you learned that Roy Orbison died? Did you immediately think back to this night?

I don't remember exactly where I was, but I did immediately think of that night, and was very saddened. I had the pleasure of meeting Roy after the filming, and he was very gracious and soft-spoken. As a songwriter, it was a big thrill for me.

On the broadcast, you can spot Billy Idol, Sandra Bernhard and Kris Kristofferson. Anyone else there you remember?

Oddly, no - my attention was so focused on the music.

I was at the Ryman recently for Levon Helm’s Ramble on the Road. I don’t think I’ll soon forget it. It was being recorded and may one day become a concert film classic. Any other shows you’ve been to since the Roy Orbison taping that feel like that to you?

There are shows I've seen that I wish were taped, like the time at a club in LA when I saw Lou Rawls and Edgar Winter get up onstage and do an impromptu duet of "Tobacco Road". But there's nothing that stands out more than that night at the Ambassador Hotel - it was a privilege to be there.

Dennis Quaid's Twins

Diddy's Twins

Elvis Costellos' Twins

Garcelle Beauvais's Twins

Jennifer Lopez's Twins

Marcia Cross's Twins

Nancy Graces's Twins

Hey it was either that or point out that Rob Halpert, Gene Simmons, Jeff Tweedy and Elvis Costello share the same date. How boring is that.

a book of leonard cohen's poetry! paige took me to half-price books, and true to form, i couldn't resist buying something even though i bought eleven books from another hpb earlier in the day. it was six dollars, which is more than i would ever allow myself to spend at hpb, but it was leonard, so i had to.

leonard cohen - so long, marianne.mp3

new jenny lewis album! i love her so much that i actually bought it... it's the first cd i've paid for in over a year. and it was well worth it: she duets with elvis costello on "carpetbaggers" and with chris robinson on "the next messiah," and zooey deschanel sings backup on a handful of songs. and of course jenny is amazing. it's a departure from 'rabbit fur coat'... it's obviously sans the watson twins, but it's also a little grittier alt-country in parts, with a few beautiful heart-wrenching ballad-esque songs weaved in. basically, i dig it.

jenny lewis - jack killed mom.mp3
jenny lewis - godspeed.mp3
jenny lewis - the next messiah.mp3