Huh? I tried to just post the URL too, but youtube always spoils that effort. I will try again in a bit. Search for "Rag Lore" on youtube and you may find it!
― grandavis, Thursday, 27 April 2017 16:53 (seven years ago) link
this it?
https://www.youtube.com/watch?v=YtjKy1vXIcQ
― blonde redheads have more fun (upper mississippi sh@kedown), Thursday, 27 April 2017 16:56 (seven years ago) link
(with youtube links i've found you have to remove the "s" from https:// so it's just http:/)
Yep, that is it! Thanks
― grandavis, Thursday, 27 April 2017 17:26 (seven years ago) link
nice, will check out ... just saw that nyc taper has a dylan golden aycock set up for listening -- haven't listened yet, but his album from last year is fantastic (as is that bruce langhorne comp he helped put together) http://www.nyctaper.com/2017/04/dylan-golden-aycock-october-21-2016-the-schoolhouse/
― tylerw, Thursday, 27 April 2017 17:30 (seven years ago) link
oh and hey if anyone hasn't seen it yet: VDSQ, the LA-based label specializing in music by innovative guitarists, has announced three new releases out June 2nd: Ideas of Beginnings by Mark McGuire, Balsams by Chuck Johnson, and Abbandonato Da Dio Nazione by Anthony Pasquarosa. While all share a common influence of American Primitivism, they approach the style from drastically different angles, each moving away from any sort of traditional notion of the genre towards expansive horizons. From the cosmic melodicism of McGuire’s acoustic meditations to the deep ambience of Johnson’s pedal steel and Pasquarosa’s imagined spaghetti Western soundtrack, these albums brilliantly build engrossing sound-worlds within the seemingly endless palate of 21st Century Guitar. All albums are available for pre-order: http://www.vdsqrecords.com/
― tylerw, Thursday, 27 April 2017 18:01 (seven years ago) link
Ha, I always kind of liked "Midsummer's Daydream", even if as a somewhat guilty pleasure. At least in Canada, guitar teachers were very fond of it in the pre-grunge/alt era.
― My Body's Made of Crushed Little Evening Stars (Sund4r), Thursday, 27 April 2017 18:51 (seven years ago) link
It's no "Mood for a Day", obv.
― My Body's Made of Crushed Little Evening Stars (Sund4r), Thursday, 27 April 2017 18:52 (seven years ago) link
xps Ha, yeah, I'm listening to the VDSQ Soundcloud today and the new Johnson and McGuire tracks they have up are nice. Both surprised me.
― My Body's Made of Crushed Little Evening Stars (Sund4r), Thursday, 27 April 2017 18:53 (seven years ago) link
The Johnson track "Balm of Gilead" made me think more of Daniel Lanois or maybe some of Frisell's more cinematic Americana stuff than of Blood Moon Boulder.
― My Body's Made of Crushed Little Evening Stars (Sund4r), Thursday, 27 April 2017 19:00 (seven years ago) link
yeah, definitely similar to Lanois' pedal steel stuff (including his contributions to the Eno Apollo record). think i generally like everything this guy does ...
― tylerw, Thursday, 27 April 2017 19:01 (seven years ago) link
Chuck is consistently underrated. Would definitely take him over Glenn Jones, as well as a lot of the other current crop
― Wimmels, Thursday, 27 April 2017 19:54 (seven years ago) link
Chuck posts a lot of stuff that seems like it's little snippets of music for tv shows or film or something? i can't quite tell
yeah when me and global played a show w/him and paul metzger i was in heaven, so good
― blonde redheads have more fun (upper mississippi sh@kedown), Thursday, 27 April 2017 20:16 (seven years ago) link
he did soundtrack work for A Chef's Life on PBS - https://chuckjohnson.bandcamp.com/album/miniatures-a-chefs-life-seasons-1-and-2 and I think he does a bunch of documentary work ...
― tylerw, Thursday, 27 April 2017 20:18 (seven years ago) link
cool that's probably a good way to make actual money as a musician
― blonde redheads have more fun (upper mississippi sh@kedown), Thursday, 27 April 2017 20:48 (seven years ago) link
haha yeah, i'm sure that is the "day job"
― tylerw, Thursday, 27 April 2017 20:53 (seven years ago) link
i think this belongs in here: a 33-minute version of jim o'rourke playing a version of tracy chapman's fast car recorded live in japan in 2002 and put on youtube recently
https://www.youtube.com/watch?v=xJWxkYu8WgU
― in twelve parts (lamonti), Monday, 1 May 2017 11:09 (seven years ago) link
Have listened to that "Fast Car" a few times already (it got posted to the O'Rourke thread at some point I think, but also made the rounds amongst a bunch of folks I follow and share stuff with). It definitely fits here along the lines of Jim's stuff generally crossing this territory. Hits some of those long "Bad Timing" sweet sports for me. I really like how he cuts out the chorus completely, it totally changes the overall feel of the song (and makes it feel like the song will go on forever/never resolve).
Sure wish I had seen some of these shows around this time.
― grandavis, Monday, 1 May 2017 14:41 (seven years ago) link
This is magnificent. Damn, I wish I'd seen him around then. Well, anytime from around 95 onwards, really.
― The shard-borne beetle with his drowsy hums (Chinaski), Monday, 1 May 2017 15:35 (seven years ago) link
yeah, the "fast car" thing is surprisingly great -- can only imagine someone dared him to do it, but it ends up being beautiful. i saw Jim do a similarly endless "women of the world" live in 98, but I'm not sure I really knew who he was at the time.
― tylerw, Monday, 1 May 2017 15:36 (seven years ago) link
It's making me wonder how many decent quality boots there are out there. I've got the Peel Sessions one, and a Japanese show from Aug 2015. Tyler, you strike me as the man to ask...
― The shard-borne beetle with his drowsy hums (Chinaski), Monday, 1 May 2017 15:41 (seven years ago) link
i haven't come across too much - here's a full band show from 2000 - think the link still works: http://sweetblahg.tumblr.com/post/23622291526/jim-orourke-full-band-london-2000
― tylerw, Monday, 1 May 2017 15:43 (seven years ago) link
Wow @ "Fast Car"
― My Body's Made of Crushed Little Evening Stars (Sund4r), Monday, 1 May 2017 16:29 (seven years ago) link
The Jim O'Rourke thread that is getting bumped on ILM has a bunch of youtube's for live Jim sets from 2000 as well. Lots of good songs, though I haven't listened yet. Not sure if it is the same set from London linked above or not, but plan on listening as the "Fast Car" is definitely up my alley.
― grandavis, Monday, 1 May 2017 16:32 (seven years ago) link
Enjoying this new Hayden Pedigo track. Nice rich 12-string sound with a good mix of moves. Kind or arch/harpsichord-y in parts, which gives it a cool feel (imo):
https://soundcloud.com/driftlessrecordings/greetings-from-amarillo-mastered
― grandavis, Monday, 1 May 2017 17:06 (seven years ago) link
this is on spotify and very cool, like a live glenn jones album with these eerie noises and echoes of children barging their way into the track
Thrill Jockeythrill 438 - 2017On new live album Waterworks, digital and acoustic experimentation bring sparkling new depths to Glenn Jones’ emotive guitar virtuoso. Waterworks was recorded binaurally at the Waterworks Museum in Boston, MA on June 24, 2015 through 20 speakers. Glenn Jones plays guitar and banjo and is joined by Matthew Azevedo on synthesizer, harmonium, soundscapes, and signal processing.
The LP includes an insert with an essay about the performance and free download card.
A former pumping station in Boston’s Chestnut Hill is not the first place you’d expect to encounter one of American Primitive Guitar’s finest exponents. But with shared reputations for meticulous execution, innovative engineering, and stories on tap, Glenn Jones’ attraction to the Metropolitan Waterworks Museum stands as an unassumingly natural fit.
“I discovered the place when I attended a performance there in 2013,” Jones reminisces. “Even though the hall didn’t appear to be particularly friendly to acoustic instruments, one of my first thoughts was, “How can I get in on this?!””
Recorded a month after the sessions for his 2016 album Fleeting, Waterworks captures Glenn Jones at the forefront of modern solo guitar playing. Combining a highly skilled fingerpicked style with mesmeric tunings and custom-crafted partial capos, Jones delivers an array of lyrical compositions that quietly regale past adventures and personal reflections with masterful proficiency.
The Waterworks’ Great Engine Hall – depicted in the album artwork - is a unique setting for Glenn Jones’ intimate vignettes. Its lofty redbrick columns and vaulted ceiling makes for an intensely resonant space, whilst further acoustic considerations had to be made for the large amount of reflective machinery stationed in the room. Sumptuous glissandi seem to drip from every cavernous corner, whilst rhythmic bass lines gainfully slip across brass, steel and stone. Put on record, it makes for a consuming stereo experience.
To best navigate this space Jones turned to Matthew Azevedo – his mastering guru of fifteen years – for guidance. “What had been conceived as a solo show quickly turned into a collaboration,” Jones laughs. Whilst Jones’ untreated guitar and banjo take the forefront throughout Waterworks, Azevedo’s addition brings thrilling new depth to Jones’ ruminative compositions. Toying with the room’s unique acoustic, Azevedo unleashes an arsenal of field recordings, sonic manipulations and harmonium drones, through strategically placed speakers hidden in gangways high above the audience.
Whether it’s cacophonous crow caws bleeding into “Close to the Ground”, or the echoed schoolyard cries underpinning “Across the Tappan Zee,” Azevedo’s sonic additions frame both Glenn Jones and Modern Primitive Guitar music in a whole new light. When Azevedo’s synth onslaught swarms Jones’ sumptuous cover of John Fahey’s 1964 song “The Portland Cement Factory at Monolith, California,” it transports the genre to pummeling industrial territories as yet undiscovered.
Brilliantly captured through Ernst Karel’s immersive binaural recording, Glenn Jones & Matthew Azevedo’s Waterworks closely approximates the experience of hearing Jones’ works performed on this most unique of stages.
― blonde redheads have more fun (upper mississippi sh@kedown), Monday, 1 May 2017 18:56 (seven years ago) link
ooooh binaural
― global tetrahedron, Monday, 1 May 2017 19:37 (seven years ago) link
Oh man, now that I read this it sounds super cool. I like that idea of spatially placing/situating the sounds to accompany Glenn.
― grandavis, Monday, 1 May 2017 20:46 (seven years ago) link
Oh it's great! Bought it from him a few months ago.
grandavis you would totally love it.
― Evan, Monday, 1 May 2017 20:54 (seven years ago) link
Excellent, thanks for the endorsement Evan. Having another version of "Across the Tappan Zee" cannot be a bad thing.
― grandavis, Monday, 1 May 2017 20:56 (seven years ago) link
Listened to this---circle of friends on the living room carpet, late night but not too laid back---agreeable vocals, lyrics add roadmarks, guitars keep it moving through my attention (same label that put out those aforementioned posthumous Renbourns, the most recent a live set w Wizz):
JONES, BERRYMAN & JONESCome What MayArtist: Wizz Jones, Pete Berryman &Simeon JonesTitle: Come What MayCatalogue No: TUGCD1102Barcode: 605633010220Label: Riverboat RecordsRelease date: 26 May 2017RIVERBOAT RECORDS PRESS RELEASEFellow acoustic guitar innovators and long-time friends Wizz Jones and Pete Berryman haveunmistakable styles that beautifully complement each other. With textured accompanimentby Simeon Jones on saxophone, harmonica and flute this is an album of great song writing andseamless musicianship.Inspired by hearing Big Bill Broonzy and Ramblin’ Jack Elliot, Wizz Jones learnt his guitar licks fromthe likes of Davy Graham and Long John Baldry whilst playing in the coffee bars of London’s Sohoin the late 1950s. He then followed the time-honoured buskers trail from the streets of Paris to themarkets of Marrakech during the early 1960s and returned to Britain with a unique acoustic guitarstyle, an eclectic repertoire and a right hand worthy of Broonzy! Eric Clapton, Keith Richards and JohnRenbourn have all named him as an important early influence and in May 2012 Bruce Springsteenopened his Berlin show with Wizz’s song ‘When I Leave Berlin’.Back in 1960 a be-suited reporter Alan Whicker had filmed a piece for the BBC’s ‘Tonight’ programmereporting on the ‘beatnik menace’ in Newquay, Cornwall. It included two musical offerings from Wizz,one of them a song in the style of Woody Guthrie called ‘Hard Times In Newquay’ (if you’ve got longhair!). The youthful Wizz explained to Alan ‘All I’m interested in is playing the guitar and travelling.’Unfortunately for the local councillors who spoke about how they were trying to expel the beatniks,the latter had already had a profound effect on the local youth in the shape of Pete Berryman; Pete’sfirst experience of live acoustic guitar was seeing the very same Wizz Jones, barefoot and busking onthe beach in Newquay.Pete Berryman arrived on the music scene in the 1960s with the Famous Jug Band which alsofeatured Clive Palmer of the Incredible String Band. At this time, he also recorded with Ralph McTell,Al Stewart and in 1971 his influential LP with John James,Sky In My Pie, was released.Simeon Jones often travelled with father Wizz during the 1960s and 1970s to Cornwall in a variety ofjalopy VW buses and Citroens as well as to numerous festivals in the UK and Europe. Avoiding theguitar (perhaps sensibly!) he developed into a superb sax, harmonica and flute player and has beenplaying since the 1980s a wide variety of music in sessions and on tours with countless blues bands.The music on this album results from three musicians who have nothing to prove, getting togetherfor a few days and playing assuredly on a few songs and tunes they all love. There are original songsfrom both Pete and Wizz along with Bert Jansch’s ‘Moonshine’ and Fran Landesman’s wonderful‘Ballad Of The Sad Young Men’. Wizz’s song ‘Alone In My Car’ perhaps sums up the overall mood; driving through the night, headingfor Cornwall, looking forward to playing some music with Pete and other friends. ‘Playing the guitarand travelling’ – still doing it after all these years. Long may it continue - come what may!For more information, visit www.worldmusic.net
― dow, Monday, 1 May 2017 22:08 (seven years ago) link
booklet:
01 YOU’RE BLASÉ(Hamilton/Sievier) pub Chappell Music LtdA song composed in 1933 and featured in astage musical called ‘Bow Bells’. Hearing thison a cassette transcription from an old 78rpm disc played and sung at the piano by thatold rascal Leslie ‘Hutch’ Hutchinson remindedme of musical evenings when as a child athome in Croydon, listening to the BBC, thewind-up gramophone and my mother jauntilyplaying the piano during the dark winters ofthe 1940s.02 SEE HOW THE TIME IS FLYING(Tunbridge) Copyright ControlI make no excuses for revisiting this beautifulAlan Tunbridge song yet again. There must beso many generations who’ve yet to hear it!03 POACHER’S MOON(Jones) pub Year Zero MusicOne cold night in November somewhere inGermany back in the 1970s I was carousingwith the double bass master Danny Thompson.‘That’s called a “Poacher’s Moon”, Wizz,’ hesaid looking up at the Harvest Moon whichwas briefly visible between the clouds. Imisunderstood and thought that a ‘Poacher’sMoon’ meant a dark night with no moon,hence the lyrics in my song. He then wenton to wax lyrical on his wild times on tourwith the guitarist John Martyn - up to theirwaist in freezing water at midnight, fishingin the Scottish Highlands. I just had to writesomething to keep that vision in my mind!04 A RED PAPER ROSE(Berryman) Copyright ControlPete’s imagining the story from another side.05 BEWARE OF CHARMING FRIENDS(Jones) pub Year Zero MusicI guess sometimes my songs get too personal!06 THE BALLAD OF THE SAD YOUNG MEN(Landesman/Wolf) Copyright ControlDavy Graham, a great inspiration to allacoustic guitarists in the 1960s, recorded thisFran Landesman poem on his second albumand I’ve always wanted to sing it.07 ANOTHER CHRISTMAS WITH YOU(Jones) pub Year Zero MusicNot to be taken too seriously. A blues riff thatcame out of one of my favourite guitar tunings– EADEBE.08 COME WHAT MAY(Berryman) Copyright ControlPete’s letter to his daughter09 MOONSHINE(Jansch) pub Leola Music LtdIt was the great Bert Jansch who presenteda nine-year-old Simeon with an old woodenflute, thus starting him off on a never endingmusical journey. When I heard Simeon’s sonAlfie playing Bert’s song, naturally I persuadedhim to come into the studio to play on thistrack.10 SEA SONG(Berryman) Copyright ControlSome maritime musings from Pete.11 ALONE IN MY CAR(Jones) pub Year Zero MusicHeading for my beloved Cornwall for thethousandth time.BONUS TRACKS:12 THE KING OF ROME (BONUS TRACK)(Sudbury) pub Cloud Valley Music13 THE NEW MOON’S ARMS (BONUS TRACK)(Lowe/Sanders) pub Lowe Life Music14 ALBATROSS (BONUS TRACK)(Green) pub BMG Rights Management (UK) LtdMUSICIANS:Wizz Jones: acoustic guitar, vocalsPete Berryman: acoustic guitar, vocalsSimeon Jones: tenor saxaphone, flute, harmonica andvocalsGuest Musicians:Alfie Jones: acoustic guitar on track 9Anne Sumner: vocals on tracks 8 and 11Produced by Wizz Jones and Andy LevienRecorded, mixed and mastered by Andy Levien at RMSStudios, London, 2016Track notes by Wizz JonesSleeve notes by Maggie Holland
Visit www.worldmusic.net to hear sound samples of allalbums on Riverboat Records.
― dow, Monday, 1 May 2017 22:11 (seven years ago) link
Hi, I haven't really posted much on this thread but I'm guessing this is probably the best place to talk about how good this Elkhorn record is?
https://debaclerecords.bandcamp.com/album/the-black-river
Saw someone on FB mention Fichelscher/Fahey duo vibes which is a pretty easy way to get my attention, and if you're looking for that sort of thing then you'll probably dig this.
― cwkiii, Friday, 5 May 2017 04:18 (seven years ago) link
some of the electric guitar tones remind me of that electric phin band from thailand. the whole thing is extremely good
― global tetrahedron, Friday, 5 May 2017 16:01 (seven years ago) link
yeah, been meaning to check this one out, sounding cool so far
― tylerw, Friday, 5 May 2017 16:39 (seven years ago) link
Another one recorded at Black Dirt by Jason Meagher. Pretty good track record and a general endorsement right there.
― grandavis, Friday, 5 May 2017 19:28 (seven years ago) link
Elkhorn record is terrific, where did these guys come from??
― Wimmels, Friday, 5 May 2017 21:13 (seven years ago) link
pretty cool -- Pelt has added a fair amount of stuff on bandcamp (including some hard to find CDR action): https://peltusa.bandcamp.com/
― tylerw, Monday, 22 May 2017 22:17 (seven years ago) link
this Elkhorn is the business! great stuff...like the mix of acoustic and electric textures
― Universal LULU Nation (upper mississippi sh@kedown), Tuesday, 23 May 2017 19:10 (seven years ago) link
jesse from elkhorn is responsible for cataloging a lot of crucial jack rose/glenn jones/marisa anderson/etc/etc stuff on youtube, i'm sure folks here have seen his work but if not- youtube channel 'orthophonix'
― global tetrahedron, Tuesday, 23 May 2017 19:11 (seven years ago) link
Thanks for the Joost Dijkema - Sacred Revelations recommendation from way back in the thread by the way... that album is just really incredible!Was blasting it this past weekend with my wife up in Kingston NY.
― Evan, Tuesday, 23 May 2017 19:55 (seven years ago) link
new Richard Bishop live recording over yonder (including a Beatles cover!): http://www.nyctaper.com/2017/05/sir-richard-bishop-may-17-2017-park-church-co-op/
― tylerw, Wednesday, 24 May 2017 17:06 (seven years ago) link
really shoulda gone to that show...
― Chocolate-covered gummy bears? Not ruling those lil' guys out. (ulysses), Wednesday, 24 May 2017 17:07 (seven years ago) link
new orcutt on the way -- can't wait to hear him tackle "white christmas" With its deep-space beauty, harmonic complexity, and dark dissonance, Bill Orcutt is a stunning landmark in the guitarist's form-destroying trajectory. His pachinko-parlor pacing, marked by unraveling clockspring accelerandos crashing into unexpectedly suspended tones, is still in evidence -- but here, his developing melodicism maps a near-contemplative mental realm, orbiting St. Joan-era Loren Connors more than the cascading treble clatter of his duo LPs with Chris Corsano and others.
http://forcedexposure.com/Catalog/orcutt-bill-bill-orcutt-lp/PAL.048LP.html
― tylerw, Thursday, 25 May 2017 22:06 (seven years ago) link
new mark fosson too! i like this guyhttps://markfosson.bandcamp.com/
― tylerw, Thursday, 25 May 2017 22:12 (seven years ago) link
"Noodlin' On The East Fork"!
nice cover art on that fosson
always loved this one
https://www.youtube.com/watch?v=h8UugY6nozY
― global tetrahedron, Thursday, 25 May 2017 23:37 (seven years ago) link
Listened to Fosson's kY while packing for a trip tonight. Helped make things go smoothly.
― Tomorrow Begat Tomorrow (Sund4r), Thursday, 25 May 2017 23:59 (seven years ago) link
oh yeah---from Drag City newsletter:
MARK FOSSON RETURNS WITH SOLO GUITAR
Mark Fosson's been playing music for nearly 50 years now. Solo Guitar is the 5th album released under his name in all that time, which gives an insight into the nature of his music; when it is time for Mark to commit to something underneath his fingers, regardless of whether that is after two years, ten or twenty, that's what's right.
Sure, it makes for a funny career arc, but as far as the music that falls out of a guitar over the span of a lifetime is concerned, any old curve will serve. Mark's picking career was destined to be weird anyway, based on how it started: in 1976, a demo sent to "American Primitive" label Takoma Records received a personal response from founder (and its primary artist) John Fahey himself, who invited Mark out to the west coast to rerecord the material for forthcoming release. Mark showed up, they recorded, it sounded great...then Takoma went bankrupt, John Fahey sold the whole company and the release of Mark's record was abruptly cancelled. No new destination for the recordings immediately presented itself, so Mark moved on, making music with the Bum Steers and continuing to release albums sporadically in the mid aughts.
Now here's another collection to hear! Solo Guitar continues to use his chops and enthusiasm to wander musically, drawing up pieces of sparkling, nimble fingerstyle with an eclectic vision. As the title implies, this time Mark is focused on the austerity of the guitar, plain and simple, to bring out the music. This is one of Mark's favorites of all that he's written, and it is clear why: the golden, eternal promise of the guitar is ebulliently, transcendentally delivered. Mark Fosson's Solo Guitar is a masterful work, the kind it takes a lifetime to assemble! Out July 28th on LP/CD!
― dow, Tuesday, 30 May 2017 23:48 (seven years ago) link
What happened to the Takoma album?
― dow, Tuesday, 30 May 2017 23:50 (seven years ago) link