Posts Tagged ‘T-Bone Burnett’

Basement Songs: Robert Plant & Alison Krauss, “Stick With Me Baby”

basementsongs

In the midst of all my mid-life reflection last week, I received an email from a guy I hadn’t heard from in raising-sand1twenty years. John* had tracked me down through the massive power of the Internet, so of course, I immediately directed him to the Basement Songs (we writers are kind of narcissistic that way). After a friendly exchange of e-mails that detailed an overview of our lives, John checked out a couple of my columns and wrote me a follow up e-mail. He told me to disregard the previous e-mail as bullshit. He then wrote one of the most confessional letters that has ever shown up in my Gmail inbox. I’m not going to go into details because his life isn’t an open book like mine (again, narcissism), but I will say that John had a rough time in the ’90s. Happily, through the love of a good woman who never gave up on him, he’s dug himself out and now leads a happier life.

I understood what he was talking about. I went through a period of months a couple years ago in which I suffered through a paralyzing depression. I couldn’t see the light at the end of the tunnel and each day it got harder and harder to get up and face life. I, too, am lucky that I had a good woman and good friends to help me through the times and to right the course of my life. Have you ever experienced that? Have you ever tripped into the dark sides of your psyche and dragged your loved ones with you? If you haven’t been through that hell, then you, my friend, are fortunate. (more…)

The Friday Mixtape: 10/2/09

The important thing to remember is that I didn’t set out to make this mix as it is.

The initial concept was to pull out the box of CDs I seldom listen to and pull tracks from them. It is not a judgment call as to why the Beasties’ Hello Nasty is down there on the Island of Misfit Toys; I just don’t listen to the album much and, if I have a yen for the Boyz, I go for Ill Communication or Paul’s Boutique. If I am in a really regressive state of mind and nostalgia has me by the nosehairs, out comes A Flock Of Seagulls (which is amazing considering how tiny my nostrils are.)

(Who am I kidding? My nostrils are HUGE.)

There are songs here that I never listen to. The dust on Orgy’s Vapor Transmissionand the Pushmonkey CD are like instant mud – just add water. Some of these tunes are fondly remembered, some barely remembered and still others come from the “what was I thinking” file, but in combination, this constitutes the strangest mix I think I’ve ever achieved and, quite rightly, I’m afraid of it.

Somebody hold me.

A Flock Of Seagulls – Wishing (If I Had A Photograph Of You) from The Best of A Flock of Seagulls (1987)

Beastie Boys – Intergalactic from Hello Nasty (1998)

Eve 6 – Leech from Eve 6 (1998)

Keats – Hollywood Heart from Keats (1984)

Leaves’ Eyes – Elegy from Vinland Saga (2005)

Limblifter – Screwed It Up from Limblifter (1995)

My Little Dog China – Eggshells from Velvis Carnival (1994)

Orgy – Fiction (Dreams In Digital) from Vapor Transmission (2000)

Procol Harum – Bringing Home The Bacon from Grand Hotel (1973)

Pushmonkey – Handslide from Pushmonkey (1998)

Sweet – Burn On The Flame from Strung Up (1975)

T Bone Burnett – The Long Time Now from The Criminal Under My Own Hat (1992)

The Screamin’ Cheetah Wheelies – Boogie King from Big Wheel (1999)

Thomas Dolby – Airwaves from The Golden Age of Wireless (1982)

Triumph – Headed For Nowhere from Surveillance (1987)

Lost in the ’90s: Sam Phillips

lit90s

In 1988, Leslie Phillips turned her back on a successful career as a Christian Contemporary artist, changed her performing moniker to “Sam,” and recorded her first mainstream pop album, The Indescribable Wow, with producer and soon-to-be husband T Bone Burnett.  It was a bold move that paid off critically, if not commercially.  The album sold a fraction of Phillips’ Christian work, but her inventive songwriting and unique voice won her a new cult of fans.

But it was her third secular album that saw Phillips come closest to breaking through to the pop charts.  1994’s Martinis & Bikinis was packed with Beatles-esque hooks, clever wordplay, and sterling production by Burnett and XTC’s Colin Moulding on key tracks.  Lead single “I Need Love” got some Modern Rock radio love, but it was the second single, “Baby I Can’t Please You” (download) (one of the Moulding tracks, a fact that becomes quite obvious upon listening), that got the most attention.  Besides a video that made regular rotation on MTV’s 120 Minutes and Alternative Nation, it was also featured on the Melrose Place soundtrack compilation that sold quite a few copies. (more…)

Popdose Flashback: Elvis Costello, “Spike”

1989 found Elvis Costello in the throes of a full-on identity crisis. He had always been more than what the general perception gave him credit for; some of his earliest recordings were actually of a country-western variety, he had recorded an album of neo-soul (Get Happy!!,) cut a pop tune with Daryl Hall (”The Only Flame in Town”) and also a jazz track that could have put those who made their bones in the genre to shame (”Shipbuilding”) but still, the fans shouted for “Pump It Up” and “Radio Radio.” Perhaps his most obvious pitch for freedom from his alter ego’s tyranny came on the King of America album, credited to The Costello Show, with writing credits going to his birth name, Declan MacManus. The album featured almost all his signature styles in some form or fashion, but in 1986, the audience wasn’t having this de-invention. It would be his last album for Columbia.

Three years later, in what could only be considered a case of having your cake and eating it too, MacManus returned on a new label, Warner Bros., with a look vaguely similar to his feral Buddy Holly, only this time he was painted like a ghastly harlequin, beheaded, and mounted on a royal blue WB logo frame, a placard beneath the bizarre tableau reading “The Beloved Entertainer.” Here lies the genius of Elvis Costello, giving the public what they wanted AND the middle finger at the same time, for the album Spike is as much a departure as it is a symbol of everything the fans loved about him.

Reteaming with King Of America producer T-Bone Burnett, Costello and Kevin Killen brought a tight and focused sound to the proceedings, starting with the acerbic “…This Town…” where the musical machinations are paired with veddy-British misfit characters, all doomed beneath the chorus’ motto: “You’re nobody t’il everybody in this town thinks you’re a bastard.” EC was back — but ah-ah-ah, not so fast. The second song, a shuffling crime drama based on an infamous incident when Derek Bentley told Chris Craig, in reference to Sidney Miles, to ‘let him have it,’ was a sudden shock to the ear. “Let Him Dangle” recounts the event, the public reaction, and the underlying question: did Bentley mean “shoot him” or “hand over the gun” when he said, ‘let him have it’? This was as far from “Watching the Detectives” as one could get. (more…)

Basement Songs: Brandi Carlile, “The Story”

basementsongs

31gsbdhdwcl_sl500_aa240_1My father was admitted into the hospital this week complaining of chest pains; because he’d had bypass surgery in 1992, the doctors were very concerned about the condition of his heart. Let me tell you that as a 71-year-old man, he’s a strong and stubborn as he was when I was growing up. My updates came from my mother, who called me from her cell phone, and in her voice was the same tension and impatience she’s always had with doctors; years of nursing experience will do that to you. My parents have been married for 46 years and as they get older I’ve come to appreciate the tough times they endured, and how strong their love is. I didn’t always think that way. It wasn’t until my father’s heart surgery in ’92 that I really saw how much they do care for each other.

Looking at their relationship, I can’t help but think about my own marriage to Julie. I hope that when Sophie and Jacob reflect on their childhood, they’ll have good recollections of how much their dad loved their mom. Julie and I laugh and kid each other, we’re always hugging and kissing, and we are always there to comfort one another during the troubling times. At times I shake my head when I pause to think about the 15 years we’ve been married. That number seems like a long time, and yet it’s flitted by as a feather in the wind. Like a feather, there have been moments when we’re very high and the joy of life carries us along — and then there are those days when the wind has calmed and the feather lays on the ground, waiting for something to come along and carry us onward.

Music has always been a way in which we’ve bonded. We share our musical tastes and turn one another on to artists and sounds that we might not have otherwise listened to. I forced Springsteen upon her (she’s a big fan now, just ask her) and she brought into my world many beautiful female singers such as Shawn Colvin, Patty Griffin and Bonnie Raitt. More recently, she has fallen in love with the music of Brandi Carlile. Okay, maybe not all of her music, but one song, “Tragedy,” which was featured in a heartbreaking episode of Grey’s Anatomy a couple of seasons ago. On this song Carlile sings like an open wound, so sad and passionate; it’s chilling. I sought out more of Carlile’s music and came across her 2007 album, The Story. It’s a CD of bluesy, polished rock that bears the rootsy trademark of its producer, T-Bone Burnett. Among the songs, the title track immediately spoke to me on musical and emotional levels. (more…)

Listening Booth: The BoDeans, “Still”

Many summers ago, I was a counselor at a remote summer camp in the heart of lake-bound Michigan and, suffering from a bad case of cabin fever (literally), I had been counting the days until my scheduled day off. Borrowing a fellow counselor’s car, I hauled ass to the nearest record shop in search of some new music to replace the cassettes I’d plum worn out since taking my position as rocketry instructor at Lake Of The Woods Camp. That day, I bought two albums sound unheard: the BoDeans’ Love & Hope & Sex & Dreams and E.I.E.I.O.’s Land of Opportunity.

I literally knew nothing of either band, but figured the album covers hinted at greatness within. Upon checking the liner notes of each, I was struck by the similarities.

For starters, both bands were from Wisconsin. Secondly, they had each occupied the same studio in L.A. during the recording of their albums, and, lastly, T-Bone Burnett showed up in the credits for each album; producing the BoDeans while adding acoustic guitar to E.I.E.I.O.’s “Blue Mountaintop” (download).

While I admit that I preferred the more rambunctious Land of Opportunity, there was a lot to like about the BoDeans’ debut. Most intriguing was the fact that they were fronted by two singer/songwriters, each with a voice and songwriting style that couldn’t have been more different. Kurt Neumann boasted a voice so honey-sweet that even when he pushed the edges, it still sounded smoother than smooth. Sammy Llanas, on the other hand, came across much more world-weary — with a voice that, to my ears, sounded like Festus from Gunsmoke. That their voices melded together to create wonderful harmonies seemed a minor miracle. (more…)