MIXTAPE: Lowland Hum’s Songs for Dusk

We’ve put together a group of songs that feel related to dusk: the transition moments between day and night. Included in our thinking about dusk are the days in between each season.. winter to spring, spring to summer, summer to fall and fall to winter days. We all need help in our times of transition, as we are being stretched, strained, or pressed between what was and what is to come. The songs that assist us in these travels seem to have an unplaceable quality, both disorienting and comforting like a sweet, warm drink with salt scattered on its surface.

The unique combination of anticipation and farewell allows these songs to occupy paradoxical thematic and sonic space. We need songs like these so we can bring more of ourselves into the present. So, we humbly offer this grouping of songs to accompany you in transitions of all kinds, whether they be literal dusks, the days between seasons, or simply moments where this particular tone may be soothing, cathartic, comforting or augmenting. To paraphrase something we read on The Milk Carton Kids’ Mixtape… “we include our songs aspirationally and for self-promotion here.” — Lowland Hum 

Aldous Harding – “Zoo Eyes”

We love Aldous Harding’s ability to shapeshift, morph, and play in her music while remaining vulnerable and human. It reminds us that those are all options we can choose as well when creating. Her most recent album, Designer, is delicious.

Bob Dylan – “He Was a Friend of Mine”

This song has always stood out to us as a deeply compassionate and humanizing song that packs so much into its few and deceptively simple words. It reminds me of the wordlessness that comes with deep grief. At the anniversary of George Floyd’s death I think of the great losses our nation has experienced this year and the way all words felt clumsy and insufficiently small in the face of such dumbfounding, dark and evil things.

Big Thief – “Open Desert”

We’re having a hard time finding what’s not to like about anything and everything coming from Adrianne Lenker (and her band) these days.

The Beatles – “Julia”

This melody is so wistful, dreamlike, sad, and lovely. “When I cannot sing my heart I can only speak my mind, Julia, sleeping sand, silent cloud, touch me so I sing a song of love, Julia.”

Radiohead – “You and Whose Army?”

The beginning of this song makes us feel like we are suspended in shimmering stardust thick enough to hold a person’s weight. The arrangement blooms so patiently until you suddenly tumble down a flight of stairs. That a recording can do that is one of the main reasons we organize our life around music.

Antonio Carlos Jobim – “Look to the Sky”

I mean, are you not slow dancing by yourself on a terra cotta tile patio, barefoot, with a cocktail in hand when you hear this?

Labi Siffre – “Cannock Chase”

The combination of this picked guitar and gently shuffling percussion sounds like being in the car at dusk with the windows down, scenery flying by.

The Zombies – “Beechwood Park”

We’ve listened to this album so much in the past few years, but somehow only really noticed this song and its magnificence in the past week. Now we are obsessed.

Nick Drake – “Free Ride”

To us Nick Drake always sounds like sunlight filtering through the leaves of trees. Although this one carries a bit more urgency and pep than some of his other songs, this one is no exception.

Myriam Gendron – “Solace”

This song comes from an album of Dorothy Parker poems put to music by Myriam Gendron. The whole album is like a friend sitting silently beside you when you’re feeling a lot. You probably need it in your life.

Keur Mossa – “Quand le fils de l’homme viendra”

This song comes from an album that has been an immense comfort to us in times of transition. When far from home, while working on building our studio in early morning light, while in labor with our first child… It’s a beautiful treasure of humanity reaching toward divinity.

Tiny Ruins – “One Million Flowers (solo)”

This album is all solo guitar and voice versions of Tiny Ruins’ full-band album Olympic Girls. Hearing these songs stripped to their skeletons showcases how strong her songwriting and voice are. Though we were fans of the full-band album first, we prefer these versions hands down. We aspire to make songs that can stand on their own naked or dressed up.

Lowland Hum –”We Do What We’re Told (Milgram’s 37)”

This is our cover of Peter Gabriel’s “We Do What We’re Told (Milgram’s 37)” from his album, So. We covered that album in its entirety, calling our version So Low. Our version came out on the 35th anniversary of the original’s release.

Lou Reed – “Perfect Day”

This song is a cocktail of equal parts bummed-out and triumphant. How he does it we don’t know, but we love it.

Frank Sinatra – “Mood Indigo”

The strings and reeds in this song are like sitting on a fire escape in the warm balmy breeze of a summer evening. Sinatra’s delivery is so subtle and masterful. You can’t go wrong with any song on In the Wee Small Hours.

The Weather Station – “Trust”

We have long been fans of Tamara Lindeman. Her songwriting is like a window into the unspoken dialogue of real relationships.

Arthur Russell – “Close My Eyes”

This song is so visual to me (Lauren). It reads in the mind like a bedtime story complete with dark oil pastel illustrations. I dare you to close your eyes and not see it all.

Gold Connections –”Confession”

Will Marsh of Gold Connections is a dear friend of ours but we promise we aren’t biased. They just released this single and we can’t get enough of it. This song has it all: city and desert; neon signage and the kind of starry sky that can only be seen when you are far from civilization.

Bruce Springsteen – “Nebraska”

Tragic, startling, beautiful. Daniel always says he believes in this album because it gave him compassion for a mass murderer. That’s some power right there.

Paul Simon – “Night Game”

What a stunning and mournful number. Who knew a song about baseball could feel so mystical? Hold out for the otherworldly harmonica solo by Jean-Baptiste Frédéric Isidor. This one has comforted us on many a late-night drive.

Adrianne Lenker – “forwards beckon rebound”

This whole album is a treasure. This song has such a great momentum while remaining quiet.

Martin Denny – “Trade Winds”

This exotica album is a staple in our household during our newborn son’s bathtimes. But we find it perfectly appropriate for listeners of all ages and stages. It is perfectly campy and yet transportive.

Lowland Hum – “Waite”

We felt that we needed to include at least one original Lowland Hum song, so here’s our duskiest. This song was written while on tour in Europe in 2017. We were playing a house concert in a landscape painter’s home studio and gallery (Andy Waite is the name of the painter and now friend) and the guitar part mysteriously came to Daniel while we were setting up in the space. Something about being in a home so steeped in one person’s creative life and flow was magical. There was a very real substance in the air that mysteriously found its way into Daniel’s fingertips as he was messing around on guitar.


Photo credit: Tristan Williams

BGS 5+5: Lydia Luce

Artist name: Lydia Luce
Hometown: Nashville, Tennessee
Latest Album: Dark River

What was the first moment that you knew you wanted to be a musician?

When I was in high school I was chosen to be in the Honor Orchestra of America… yes I was an orchestra nerd through and through. We got to perform with Christopher O’Reilly and had Benjamin Zander as a conductor. I was really into Radiohead and Christopher O’Reilly had just released his album of Radiohead covers for solo piano. He performed a few of the songs during our break and I was floored. I had a glimpse of these two worlds coming together, classical and popular music, and that really intrigued me. This was one of the moments I knew I wanted to continue to pursue music. Either that or when my mom took me to see Hilary Hahn play the Barber Violin Concerto in New York.

What other art forms — literature, film, dance, painting, etc. — inform your music?

Dance is a big influence. I grew up dancing and it is still a big part of my life. Since moving to Nashville I have taken contemporary ballet, West African dance, and salsa dancing classes. I think about the movement of the songs when I write and ask myself how I would move to this song. For the music video of “Maybe in Time” I got to try out choreographing for the first time.

Which elements of nature do you spend the most time with and how do those impact your work?

I grew up by the ocean, but I am now landlocked in Nashville. I spend most of my time in nature on hikes or kayaking here in Nashville. We have so many beautiful waterfalls about an hour outside of the city. One of my favorite things to do is go on solo camping and hiking trips. I find this time is helpful for going in deep with myself. Dark River is the spawn of some beautiful solo adventures.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

Oh I like this question… “Pink Moon” by Nick Drake and pad thai. “I Was an Eagle” by Laura Marling and butternut squash soup with a big ole hunk of sourdough bread.

What rituals do you have, either in the studio or before a show?

My rituals pre-show have become driven by vocal health. I started getting very serious about my vocal health in 2019 before going on a two month long European tour with shows almost every night. Before each show I do a warm up for about 8-10 minutes and use a portable steam inhaler. I started working with a vocal coach who taught me so much about keeping my mind and body healthy on tour. My little ritual has become so meditative for me because I seek out the most quiet place and have this moment of stillness all to myself.


Photo credit: Alysse Gafjken

BGS 5+5: Jillette Johnson

Artist: Jillette Johnson
Hometown: Nashville, Tennessee
Latest Album: It’s a Beautiful Day and I Love You
Personal nicknames: JJ

Which artist has influenced you the most … and how?

It’s so hard to pick one, but Randy Newman has greatly impacted me as a songwriter and performer. I heard my first Randy Newman song when I was a toddler, watching the movie Beaches with my parents. Bette Midler sings his song, “I Think It’s Going to Rain Today,” at the end of the movie, and it cut right into me. I didn’t know he wrote that song until by accident, I got to see him play and essentially lead a lecture in Los Angeles when I was 16. He completely transfixed me.

His musical sophistication and ear for beauty, coupled with his cutting, hilarious, and deeply empathetic storytelling was like nothing else I had ever heard. He’s so prolific, and so unchained to whatever the world expects of a singer-songwriter. He takes risks, tells the truth, and lets his humanity lead the charge in every song. And he’s still doing it, to the highest level, which inspires the hell out of me. I’ve said often that I want to be Randy Newman when I grow up, meaning that I want to keep making exciting music that matters for the rest of my life, just like him.

What’s your favorite memory from being on stage?

This wasn’t exactly a stage, but it sure felt like one. When I was 17, I was invited to go to Liza Minnelli’s apartment on the Upper East Side in Manhattan to play songs for her on her beautiful grand piano overlooking Central Park. She greeted me at the door with those big bright eyes, no makeup, wearing sweatpants and a giant smile. Her apartment was under construction, but the “piano room,” was perfectly intact — a room of only mirrors, windows, one couch, and the piano where I played. We sat there for hours while I performed songs I had written, and she sat next to me, asking me to replay certain parts of each song so she could really let them sink it.

She made me feel like what I was making mattered, and like I belonged. I’ll never forget that feeling, or her kindness. Towards the end of the visit, she told me I reminded her of Laura Nyro, whom I’d never heard before then, and she insisted I go to her bedroom with her while she crawled on the floor of her closet looking for a Laura Nyro record to give me. She never found the record, but I still relish the image in my mind of her in a pile of clothes scouring for it and swearing under her breath.

What was the first moment that you knew you wanted to be a musician?

It happened before I can remember. In fact, I can’t remember a time when I didn’t know that I wanted to be a musician. I was the kid wandering around the edge of the sandbox making up songs and singing them to myself out loud. My grandmother asked me when I was like 4 or 5 what I wanted to be when I grew up, and I said a rock star. She asked what my second choice would be, and I said I didn’t have one. And I still feel that way. Music has been with me before everything. I’d be an entirely different person without it.

What rituals do you have, either in the studio or before a show?

It’s really helpful for me to find some time to be quiet and center before a show. I always warm up my voice first, usually an hour or so before I go on, while I get changed and do my hair and makeup. But then, in that half hour before I go on, I really like to be alone. I’ll often take that time to meditate first, and then move my body in ways that energize me and make me feel powerful. The sweet spot for me is to go on stage feeling calm and in control, but still full of vigor and excitement. It’s a hard line to walk sometimes, and my nerves have been getting harder to control as I’ve gotten older. That’s why the meditation part is so important.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

Often! It’s a fun way to have a little therapy session without having to leave my house or pay anybody. And in writing land, it can lead to songs that speak more clearly and feel more inclusive. When I need guidance or am feeling insecure, I like to ask myself what I would tell someone that I loved if they came to me for help with the same issues. And when I’m writing a song that starts to sound like a pity party, or I get lost in what I’m trying to say, I often do the same thing. It’s so much easier to find clarity and compassion for others than it is for yourself, at least in my experience. Flipping the “I” to “you” or “her” is a tool I like to use in both art and life.


Photo credit: Betsy Phillips

BGS 5+5: Ondara

Artist: Ondara
Hometown: Nairobi, Kenya
Latest Album: Folk n’ Roll Vol. 1: Tales of Isolation

Which artist has influenced you the most … and how?

I accidentally discovered Bob Dylan’s music after losing a bet about the authorship of the song “Knocking on Heaven’s Door.” I was 17 years old at the time, a confused and troubled teenager, uncertain about his future. I enjoyed writing stories, but I didn’t know how to turn any of that into a career. The pressures from everyone I knew, to pursue a more traditional career such as law or medicine were mounting; but I felt an itch for something else. Something I was unable to name, unable to imagine, and with no guidance or encouragement I had no way of discovering what it was.

Finding Dylan was like a scratch to that itch. After listening to records such as Freewheelin’, Highway 61, and Blonde on Blonde, and being completely taken by the writing, I was hit by a burst of inspiration. I had this very wild thought that perhaps I could turn the stories I’d been writing into songs, then I could travel the world and play those songs, and perhaps I could turn that into some kind of a career. It was a crazy and impractical thought since there was no path from where I was to anything like that, but it was something to dream about. Whether the dream came true or not was irrelevant, sometimes as a boy you just need a dream, and finding Dylan is what showed me that dream. “A boy’s devices will always create mayhem, therefore a boy needs a dream, because without a dream the boy is left to his devices.”

What’s your favorite memory from being on stage?

I played a show in Paris last year at a venue called Élysée Montmartre. It was a very memorable show for a few reasons. At the time, I was touring Europe playing shows solo with my guitar, but for that Paris show I wanted to do something different since it was going to be a bigger concert than the rest. I decided I would put together a band. I asked my team to contact some musicians and we assembled a last-minute band just a few days before the show. None of the musicians knew the songs prior, and we only had time for one short rehearsal.

Despite being entirely unprepared it ended up being one of my favorite shows. There was a magical feeling that we were all speaking the same language. The musicians and I understood the language as we played the songs as though we had been playing them for years; the audience understood it as well as they listened to us play. By only communicating in this universal language of music we all had a communion of spirit. This communion is what I miss the most, now that concerts have become rare.

At that same concert, the lights went out towards the end of the show; for about 15 minutes of black out the audience lit the room with their phones and took over the show by singing a new song I had taught them. A memorable night it was. It always is in Paris.

If you had to write a mission statement for your career, what would it be?

We go through most of life on autopilot. The piloting mechanism being cultures, trends, upbringing, education, trauma, and many other things that define us yet we have no control over them. Stories and other forms of art are a mirror to this subconscious state of the society, a way for us, the participants of life, to view ourselves. In a way it is how we watch ourselves sleep. And as we view ourselves, we see our folly.

We have a better chance of fixing our faults if we can see them. If we can’t see them, then we’re not consciously aware of them, and if we’re not aware, then there is nothing to fix. So then people remain oppressed because we have become hateful and uncaring but we can’t see it. Stories are a conduit to compassion, and I am of the mind that compassion is the medicine, so if I had a mission statement, it would be to tell many stories and to tell them far and wide.

What other art forms — literature, film, dance, painting, etc. — inform your music?

Gazing at paintings is one of the things that bring my ever-racing mind a few moments of quiet. I get lost in them in a meditative way. When I was younger I thought paintings spoke to me; not in a figurative way, but in a literal fashion. They would tell me the sorrows and joys of the world, and I would write them down in the form of stories. Now in my adulthood, I still hear them, I’m just more aware that it’s my mind being slightly insane.

What was the first moment that you knew you wanted to be a musician?

I accidentally found a song called “Forget Her” by Jeff Buckley when I was about 9 years old. It was the early 2000s and back home in Nairobi, pirated music was as prevalent as the ubiquitous roasted maize, sold on the streets. Music vendors would set up shop in markets or by the streets; they would go online and download random songs, put them on a CD and sell them. Oftentimes, nobody knew the songs they were selling, not even the vendors knew them. They just downloaded random songs online, an attempt at finding something interesting to sell to increase their income at a time of economic difficulty. In the streets, they would advertise the music by playing it loudly to invite customers, sometimes they would call you as you walk past and ask you to listen to some of their new downloads. If you liked a song you would then buy the CD. It was like wine tasting but for music.

I found many bands that I fell in love with that way: Jeff Buckley, Death Cab for Cutie, Radiohead, among others. Finding that song “Forget Her” was a pivotal moment for me. I was so fascinated by Jeff’s singing that I would lock myself in my room and try to imitate him. I was always fascinated by words, but around this time is when my interest in singing began. Since then, I always knew I wanted to be a musician but because there was no path towards a career of that kind, that desire remained stifled until much later when I couldn’t ignore it anymore, and when the universe conspired to send me to America.


Photo credit: Ian Flomer

Marcus King: A “Young Man’s Dream” Come to Life

A first encounter with Marcus King’s voice is nothing short of wondrous. The 23-year-old singer/songwriter/guitarist functions less like a singer and more as conduit for raw emotion, his dynamic, melodic singing grounded in soul, rock and roll and a preternatural sense of musical intuition. To boot, he is also one of our best young guitar-slingers, wowing legends and fans alike with his emotive, inventive take on modern, electric blues music.

On January 17, King released his first solo album, El Dorado. Produced by Dan Auerbach, it marks the first time King has offered a full-length project outside of his critically acclaimed Marcus King Band; accordingly, the project feels particularly intimate and honest, with King reaching new heights as not just a singer and player but as a storyteller and lyricist.

BGS caught up with King as he was getting ready to perform on Jimmy Kimmel Live to chat songwriting, working with Auerbach, and how it feels to strike out on his own.

BGS: It’s only been a couple of days since El Dorado released. What have the last few days been like for you?

MK: Man, it’s been a bit of a circus. But I always liked the circus when I was a kid. So it’s working out fine.

You had a couple of release shows in Nashville on Friday, too. What was it like getting the new music out to people?

It’s fun, man. Those solo acoustic shows can be a little nerve-wracking, just because there’s no one to share with. It’s a lot more vulnerable. I feel a little exposed during those, in a way. But it makes it that much more gratifying, you know?

Was there a particular song or idea you were kicking around that made plotting the album click into place for you?

It all started with “Young Man’s Dream.” We wrote that two years ago, almost to the day. It was right before I was going in to do [the Marcus King Band’s 2018 album,] Carolina Confessions. We already had plans to work with Dave Cobb, which was a surreal experience. Before that, Dan Auerbach reached out and asked if I could come do some writing sessions with him. I jumped at the chance. That’s the first tune we ever wrote together, “Young Man’s Dream.” Then the theme fell into place for this to be a storytelling album, a coming of age story.

Given that you and Dan had written that one song together and felt strongly enough about it to do this entire project, what would you say makes your creative partnership with one another so special and fruitful?

Working with somebody is a really intimate relationship. Writing is really personal. I had never really co-written before, and Dan was really particular about who we brought in to write with me on this record. He and I were able to write together two years ago and continue to do so over the past couple of years. Our friendship and our writing partnership led to a very organic process in the studio. Writing together [for the first time] is really kind of like a first date. It’s a little awkward and you really have to bare your soul and hope you don’t freak anybody out.

To that point, when you are writing, how heavily do you draw from your own life? Are you the kind of writer who puts it all out there or are you more inclined to share your personal experiences through metaphor and more universal stories?

I pull directly from my personal experience, because I feel like that’s what I want to hear from a writer and from my favorite singer/songwriters. I love a good metaphor and all, but I really enjoy the personal experience you can hear behind the words, and their conviction. If I like a song it’s because I feel a personal kinship to that music. On this record, everything we wrote came from personal experience.

With further regard to your songwriting, you’re such a dynamic, melodic singer. When you’re writing the vocal parts of your music, do you tend to have a melody first or a lyric first? Or does it vary song by song?

The melody comes first for me. Especially if I’m working with a keyboard player, like Bobby Wood, who played on the record. He comes up with these really beautiful, gorgeous parts and I’ll just start humming, and hum more and more until it starts to form words. I just allow my soul to fill in the blanks, as to what those notes are trying to say. I’ve found that to be a pretty different way to approach it, but it’s fun.

When you get to the point when you’re ready to record a song – and I know y’all recorded this album particularly quickly, over just three days – when you go to record a song, do you have a note-by-note sense of what you’re going to sing or are you more likely to follow your instinct, particularly with regards to ad-libs and runs?

It’s mostly on the fly. The only time I would ever change it would be if Dan and I thought it should go a little differently. Then I’ll go back and fix it.

I actually ran into someone last night and they complimented me and said there were a lot of well-thought-out [guitar] solos on the record which, to me, is shocking to hear, because I can’t write a guitar solo or a vocal melody. It just comes. It’s a natural thing. To me, that’s against what I know. I was almost offended – I wasn’t actually offended, obviously – but you know that’s my whole approach to the record, to free it up melodically.

You touched on this a minute ago, but you had an incredible roster of players who joined you in the studio while you and Dan were recording. What was your time together like?

The whole reason we work so well together is that their work ethic and mine really align. The only time I have to wake up early is if I’m working on new music or I’m working on something really important to me; otherwise I’m a late riser. On this record, I would get in around nine and all the cats would already be there. They’re all in their late seventies and early eighties, so they all get up at sunrise. They’d already have had their coffee and would just be waiting on me to get there. We’d get to work around 9:30 and go until 9:30, 10 at night.

Given that they’re all such seasoned players, did you give them free reign to write and play their parts, or did you have a firmer sense of what you wanted each player to do?

We had our work tapes of the writing sessions. We’d play the tape for them and they’d write their charts and give us the chart. We’d play the song and that would be the take. Everyone is writing their own parts on the spot, you know? It’s really a beautiful way to record. The stuff that comes out that way is really beautiful. Everyone added their own part and I never had any notes. The only note I had was at the end of “Wildflowers & Wine,” the outro is a little different. I recommended that change. That’s the only little note I had. Otherwise it was all great.

We touched on playing these songs live solo at the beginning of the conversation, but you’ll have your band out with you on the road in support of the album. What are you most looking forward to about playing these new songs live?

I’m excited to showcase it to people in a way that they’ve never heard it before. I always like to talk about the importance of having a studio version and live version. I think having the live version sound exactly like the studio is almost a farce. We stay true to form; we aren’t going like Radiohead with completely different versions. But we add more improvisation and play a bit with the structures of songs. We also have two horn players, so the songs have a different vibe. Why would someone want to leave their home and come all this way to hear it exactly the same? I like to offer up something different, you know?


Photos: Alysse Gafkjen

Trampled by Turtles Revisit Iris DeMent’s “Our Town”

 

Over the years, Trampled by Turtles have occasionally added Iris DeMent’s stark folk song, “Our Town,” to their set list, with lead singer Dave Simonett delivering the Midwestern loneliness and wistfulness that the tune calls for. Now the Minnesota-based band has finally recorded “Our Town” for an upcoming EP, Sigourney Fever, which drops on December 6.

The track list also includes covers of Neil Young’s “Pocahontas,” Faces’ “Ooh La La,” Warren Zevon’s “Keep Me in Your Heart,” and Radiohead’s “Fake Plastic Trees.” The band will be touring in January and February.

“We are getting back into the readiness of making a full record,” Simonett tells American Songwriter. “Right now, I’m starting to write, but it’s kind of a limbo time. This is sort of like an appetizer for us.”

DeMent once told NPR that she wrote the song after driving through a boarded-up Midwestern town when she was 25 years old, and that the song came to her in its complete form. She wisely recognized that musical experience as her calling to be a songwriter. More than three decades later, it’s good to know that the sun still hasn’t set on “Our Town.”


Photo credit: David McClister

MIXTAPE: Madison Cunningham’s Songs I Hear in Purple

It was difficult to narrow it down to just 12, but here are some songs that were turning points for me as an artist. Songs that made me first realize, and then remember, why I love music. I also hear songs and keys in color. Although it might sound strange all twelve of these songs have aspects that sound purple to me. Enjoy!

Jeff Buckley – “Grace”

My friend Izzi Ray told me about Jeff Buckley over lunch about four years ago. Being late to the game, as I usually am, I didn’t listen to a single song of his until a couple years later. I’ll never forget how astonished I was at his voice. Then come to find out what an innovative guitar player he was. It haunted me for months. Specifically “Grace.”

Radiohead – “Paranoid Android”

“Paranoid Android” was one of the first radio songs I listened too. I’m constantly inspired by how freely Thom Yorke creates and sings his melodies. This is one of those melodies.

Emmylou Harris – “Deeper Well”

“Wrecking Ball” was a life-changing record for me and continues to be in my top 10 favorites. The lyrics of “Deeper Well” make for a perfect song in my opinion.

Fiona Apple – “Fast As You Can”

I’ve never felt cooler than when I walk down the side streets of Los Angeles listening to this song blaring in my headphones. It’s also my airplane turbulence song. It shed a completely new light on songwriting, and songwriting tempos for me. I’ve always felt it was hard to say something important in a fast song. Fiona proved me so wrong.

Joni Mitchell – “Both Sides Now”

Joni was the first person who made me really want to be a songwriter. She set the bar so unreachably high that she made so many of us want to do our best even if we came just short of it. This song is one of few that make a timeless statement that could be sung by a 19-year-old and an 80-year-old.

Bob Dylan – “Just Like a Woman”

Here’s another example of a song that I think is absolutely perfect. Not a word or note wasted.

Ry Cooder – “Tattler”

Ry is another one of my guitar heroes. “Tattler” is my favorite song by him.

Nina Simone – “Feeling Good”

Nina Simone can’t play or sing a wrong note. All of her mistakes were in key somehow. Any song she plays instantly pulls me in. No other rendition of “Feeling Good” matches the sorrow, and power of this one.

Maurice Ravel – “String Quartet in F Major”

This is maybe one of my favorite pieces of music. I heard Chris Thile play it on Live From Here for the first time and it lifted me out of my seat.

Brian Wilson – “Don’t Talk”

This one makes me tear up almost every time. The melodies and voicings on this tune are such a beautiful mystery to me. And the lyrics convey the power of not saying anything and resting in the arms of the person you love

Rufus Wainright – “Poses”

On my way back from the Sundance film festival it started to snow. My friend Mike and I made a wrong turn; as we found our way back he turned this song on. When it was over I asked him if he’d mind if we played it again.

Juana Molina – “Lo Decidi Yo”

Juana is one of my favorite guitar players/writers. She’s truly one of a kind. I listened to one song by her called “Eras” on repeat for four years straight until I uncovered the rest of her record. Here’s one of my belated discoveries.


Photo credit: Paige Wilson

MIXTAPE: Sons of Bill’s Songs by Other Brothers (and Sisters)

“What is it like to be in a band with your brothers?” is always the introductory question we’re asked in interviews. Sadly, I never really have any salacious stories of drama or rivalry. I just love, trust, and respect my brothers, and we share a deep history. There’s just no one I’d rather be in a band with. — James Wilson

The Louvin Brothers – “The Great Atomic Power”

The Louvin brothers made such terrifying and beautiful music. They are the first band that comes to mind when I think of the famous Tom Waits quote – “beautiful melodies telling me terrible things.” Their gospel music can seem so superficially brimstone Baptist but that’s all just a front for brothers who really knew the depths. You can hear it in their voices. Ira was a wild man – his wife shot him four times. Their gospel music still gives me chills and strangely seems to increase in depth and staying power with the passing decades.

The Beach Boys – “Warmth of the Sun”

This is band that definitively kept us from laying claim to “The Wilson Brothers.” We grew up with their music from my mom’s record collection. I know the term genius is thrown about too often, but Brian Wilson deserves it. He did all of the writing, all of the elaborate vocal and instrumental arrangements, and yet completely abandoned the glory of performing live at the height of their careers. Such a pop music purist.

The Replacements – “Left of the Dial”

We don’t often think of the Replacements as a brother band, since Paul Westerberg is considered the main artistic force of the group, but I think that Bobby and Tommy Stinson are a big part of what made this band so legendarily great. They gave the band this shambolic-fearless-Midwestern-blue collar front which Paul wore like a mask, giving him the courage to be the face of the Replacements. It always seemed that the Replacements “thing” — the drinking, the self-defeating “fuck you” attitude — was all some sort of elaborate defense mechanism for a guy who was probably much too existentially sensitive to handle life without it. It’s this strange combination of ennui and bone-head rock and roll that made me fall in love with this band.

Lamb of God – “Walk With Me in Hell”

As Virginians we’ve got to give it up for Richmond’s Lamb of God. The Adler brothers manage to make virtuosic angry music that is completely free of pretension. We’re taking a band field trip to see them again this summer with Slayer on their farewell tour.

The Jesus and Mary Chain – “April Skies”

I just love this band. You could say they were the brothers that made me want to start a band but it’s more accurate to say they’re the band that made me want to have brothers.

The Stanley Brothers – “Are You Afraid to Die”

My dad loved the Stanley Brothers and we grew up with their songs long before I heard their recordings when bluegrass music came back into fashion in the early 2000s. Individually the Stanley Brothers voices are so raw and honest but when they sing together something altogether different happens—their voices take on this angelic purity. We learned how to sing harmony from a lot of these songs.

The National – “Fake Empire”

Matt Beringer is often the face and spokesman for this group, but I think it’s the two sets of brothers that make them one of my generation’s greatest rock bands, instead of a summer art project. The depth of compositions and chemistry between the brothers is so compelling. You’ve got to experience it live.

The Everly Brothers – “Bye Bye Love”

We grew up with the songs from the Everly Brothers and it’s still some of the best pop music ever recorded. I find myself listening to the Everly Brothers when I want to listen to the Louvin Brothers, but don’t want to hear so much about Satan. It’s a rare occurrence but it does happen.

AC/DC – “Thunderstruck”

Angus got most of the air time but Malcolm held it all together. Everything you could ever possibly want from two guitars.

Dawes – “That Western Skyline”

When you see this band live you can really detect a special chemistry between Taylor and Griffin Goldsmith. It’s such a cool thing to see a band whose primary trust and chemistry is between the drums and vocals. It anchors the song and creates such a cool space and freedom.

Radiohead – “The National Anthem”

Jonny and Colin greenwood are such masters of their respective instruments. So much of what breaks up bands with brothers is ego, but all of their parts feel so perfectly and completely egoless. They are both of one mind in simply serving the music.

Haim – “Falling”

This band gives me faith in modern pop music. It’s so important to be reminded in 2018 that pop music doesn’t have to be terrible.


Sons of Bill’s new album, Oh God Ma’am, will be released on June 29. Photo credit: Anna Webber

BGS 5+5: Daniel Daniel

Artist: Daniel Daniel
Hometown: Washington, DC
Latest Album: The Lonesome Hollow
Personal Nickname: Chef Dan

Which artist has influenced you the most … and how?

It is hard to pinpoint one artist. There have been so many that have impacted and inspired me along the way. The ones that truly dig down and touch my soul seem to evoke beauty, angst, and heartache with their writing — people like Townes Van Zandt, Son House, Little Walter, Simon and Garfunkel, Hans Zimmer, Jeff Buckley, Washington Phillips.

If you could spend 10 minutes with John Lennon, Dolly Parton, Hank Williams, Joni Mitchell, Sister Rosetta, or Merle Haggard how would it go?

I’d love to sit down with John Lennon, open a good bottle of wine, ask him a hundred questions on his songwriting, and then proceed to write one together.

What’s the toughest time you ever had writing a song?

I don’t have a distinct memory of one song, in particular, that was harder to pen than others. When I do encounter those songs that are stubborn, I have learned to lay them aside. If they are meant to be, they will come back around, when they actually want to work with you.

Since food and music go so well together, what would be your dream pairing of a meal and a musician?

Miles Davis was known to be a pretty solid chef and, since I enjoy cooking myself, I think we would have a grand ol’ time.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

Who, me? I never do that.

3×3: May Cheung on Dolly Parton, Tasty Parsnips, and Two Pillows

Artist: May Cheung
Hometown: Richmond, BC
Latest Album: The Departure
Personal Nicknames: Maymay, Mayday

 

L.A., No. 7 Thank you, Chris. We love you.

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What’s the best concert you’ve ever attended?

Radiohead

How many unread emails or texts currently fill your inbox?

Inbox: 3,000+

How many pillows do you sleep with?

2

 

When life gets gloomy, remember the beauty. #doublerainbow #brooklyn #nofilter #instagood

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How many pairs of shoes do you own?

13

If you were going to buy a famous musician’s pair of dirty socks off of eBay, whose would you buy?

I would buy Dolly Parton’s “dirty” socks. She sweats glitter.

What’s your favorite vegetable?

My favorite vegetable is the parsnip.

 

This is what you’re missing out on. #smoked #salmon #blackberries #nom #brunch #blvdlic

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Fate or free will?

Free will, dude!

Sweet or sour?

Sweet

Sunrise or sunset?

Sunset