The Masses are Calling for More Ogranization and Ground Rules

Could we get all agree to limiting posting to:
a) A single post for your own volume's annoucement (with creator comments) i.e. Volume 4: Best of Escape Club
b) A single post for your reaction to the latest volume, i.e. Dan's Thoughts on Volume 5: Best of Civil War Documentary Fiddle Accompanyment
c) Only items of utmost concern, i.e. The Masses are Calling for More Ogranization and Ground Rules

It's not that hard to save your partially done comments in draft format until you're ready to publish the post.

The Owls in the Buckeye Tree

The Owls

I like this song, actually quite a bit. The voice sounds a little like Sarah McLachlan - - and even though I'm not a big Sarah McLachlan fan - I do like the voices of the Owls. I really like the harmony. It isn't often that I've heard airy female harmonies in pop songs. I like the gentle feel and movement; in fact, this song is a current candidate for my BS of the collection.


Buckeye Tree

Nice song. A sweet song. The guitars and voice sound good.

Welcome, Miles! and a couple of thoughts...

Glad to have you aboard, my friend.

I think this is where we ought to cap it though (membership: 6). As you mentioned, Mix, that gives us each two months a year. I am fairly bursting at the seams to release my second volume and I for one, think that having my wait be any longer would suck. I also think we may be approaching a point at which our interwoven comments are starting to get slightly hard to follow. Three new posts come in while the fourth post back is still waiting on comments, and maybe a thread from the final commentary on the last volume is still active. To that end, I'm wondering if Mighty Tom & T-Clog might consider offering all their comments in a single batch (they may not be aware that they can save drafts of their commetnary to publish at a time of their choosing).

And Mixdorf, will you be giving us SIWHI suggestions?

Dan's Commentary on Minnesota Connections

I'm doing these without reading anyone else's comments, as I don't want there to be any collusion, appearance-wise or actual and unintentional. I did use your initial comments while listening, Aaron, as I wanted to make sure I was listening for the things you pointed out.

1. Holiday: Seems like pretty straight-ahead pop. It has absolutely nothing to do with the fact that the name of the song is "Holiday," but it actually reminds me a lot of the Go-Gos (maybe one of the reasons some people call them "bubble-gum pop"), from the various solos to the very regular bass, to the melody & harmonies. Calling them upbeat (as you indicate the critics around town do) is probably a good instance of critics hearing what they want to hear and ignoring everything once they've arrived at a label. Another thing I'd mention is that I'm not a big fan of his voice here-just sounds very small-time to me, but not in a great way.

2. Buckeye Tree: This'd go well on "Dan P R," don't you think? Obviously, it's no secret that I'm partial to this style...but, I think it's a very pretty and wistful song. A sad and beautiful song. I don't think of too many connections to Box Elder, other than the fact that they're both acoustic guitar-based and both speak of a tree. What Americana/Alt Country can be when it's really good and giving itself over to the heart from where it's being sung & written. Very beautiful, gentle female harmony that comes in. And Roe has just the right voice for this one.

3. Man, the Swirl of Color: Why is it, but I don't like the first few bars of this song? It sounds like it's going to be crappy, but then it shifts everything into the feel & sound for the rest of the song. Neat art-pop! I sort of see the Pat G/44 connection. Very "bompy, bompy" in a non-commercial radio way, and a lot of not really tempo changes, but stops and starts and shifts. I like the words and the refrains and the changes. With a nice baritone like that, his stage presence should be a lot more commanding!

4. The One that Got Away: This may be what you're thinking, but this is definitely a departure or novelty as opposed to something that could be a "classic" in the truest sense (sort of like how, although they're great songs, "Helter Skelter" and "Honey Pie" are almost nobody's favorite Beatle songs). As such, and using some classic swing-country phrasing and chord changes, it's fun. Some of the words, particuarly near the beginning are kind of funny and clever, though they seem a little tired as it nears the end. I do also like that guitar that is doing independent wandering kind of throughout-something that's not done very often in music.

5. The One You're Closest To: Reminds me a little of Mazzy Star. There is one chord change that occurs during the main verses that, alone, almost makes the song for me. Really neat chord change. Doesn't seem like the song progresses enough, melodically or chord-wise, for my liking, though. Just seems to kind of go on and on without building to anything. Good for mood music. Even good for entire albums; indeed, sometimes quite conducive for entire albums. As a standalone song, though, it leaves me feeling that this is a decent, but not great, song. And, of course, as any 2nd grade teacher can tell you, this song title contains a dangling participle.

6. City Girl: Funny, your description of their onstage follies (and makes me want to tell them "I've been there, sister!"). Funny, also, that their onstage confusion almost comes through on the recording. Not that it's off or sounding wrong or anything. But I can just picture this group that hasn't praticed their new "masterpiece" quite enough times trying to assemble it onstage, and now-damn it-I can't hear the song without laughing and imagining this piano falling in and out of tempo and the two singers messing up their pacing and glancing awkwardly back and forth. Which is a shame, because it is a really nice song. Pretty short & sweet, word-wise, but the harmony is nice, and the music very good as well.

7. Mike's Country Song-Don't really care for a song name like this. Can't put my finger on why. Not sure if it's because it feels overdone, like a cop-out, or if I feel like a band would do this if they didn't want anyone to come across this song and feel like they're a country band. Or maybe it's just because I feel like you've immediately diminished the relavence and meaning of the entire rest of the song with this title that has nothing to do with it. Anyway, I've spent far too long ripping on the song's title, I must get to ripping the song. Actually, not ripping all that much-I don't think it's bad; but it doesn't do much for me, either. Melody & music don't appear to be paving any new ground, or adding a whole lot to already paved ground. I appreciate the subject matter, though the words don't blow me away. I also can appreciate the high harmony that comes in at the end. As a side note: were we really going to play with Accident Clearinghouse? Were we just going to luck out, or was that before their rise to local prominence, or are they not as big as I think?

8. Neutral Angel of Fargo: Say, I like this one! I'm normally not partial to any words that mention Jesus (not a religion thing or "worship and praise music" thing at all, but an Americana thing-I think mentioning Elvis or Jesus is generally a cop out to coming up with creative, meaningful words). But I think the words here are wonderful, beautiful. Reminds me of one of my favorite alt-country guys, Richard Buckner. I, too, love that harmony near the end.

9. Little Sunrise: Something about the way this is recorded makes me feel like it would be at home on Flywheel Sampler 2. But I like the song. Not a ton, but I like it OK. Another good chord change that repeats in verses. I like the guitars & harmonies, too. This may be one of the discs I ask to listen to as a result of this collection (not to load into iTunes, of course, but to get more familiar with a potential future purchase). Side note: Not familiar with that "longest rock song ever" thing. Sounds fun.

10. Ten Thousand Lakes: This type of subject matter normally doesn't float my boat, but I think he does a good job with it, lyrically. Very well constructed, musically. Very haunting & dirge-like. Interesting background instrumentation & vocals. I love the name "Kid Dakota," by the way.

11. Griddle Cake Joey: Another novelty, this one self-aware of being such, of course. Very funny. And very funny backing vocals. If it was "Shrimp Joey," I'd really get your point about including this...

SIWHI: Something by 44 or Pat & Dan. Come on, AJ! Otherwise, something by Neil Schon.

The AC is always on at the Johnson's

The One that Got Away

I am not crazy about this song, but I'll tell you what I did like about it. I really liked the lyrical observations of the girl in the very first part of the song. I thought it was an excellent piece of writing.



Mike's Country Song

Not crazy about this song either. Sounded a bit blah to me in terms of lyrics and the banjo sounded dead.


Griddle-Cake Joey

This one was funny. I liked it and the vision that popped into my mind upon my very first listen was instantly hilarious. I really like the banjo in this one - it had some life - maybe it couldn't help it on account of this song's tempo. The background vocals were funny and absolutely necessary.

Reminds me somewhat of another song that I heard Aaron sing once.

Mix: Volume 3 - the specifics

Track 1 - Holiday
This feels like the opening track of an album to me, a good thing, since that's how it's being used. It's got some pretty good lyrics, and a good little tune. Nothing mind blowing, but plenty pleasant. Definitely has that college band feel to it, as much as anything due to the lyrics.

Track 2 - The Buckeye Tree
One of my favorites on this collection. Simple, elegant and endlessly enjoyable. Takes advantage of the vast rhyming potential of 'ee' sounds, and does it without being too annoying. Like the harmonica in this song - more subtle than your typical use, fitting nicely into the feel of this song.

Track 3 - Man the Swirl of Color
Another of my favorites from this collection, although I have some problems with the chorus. I love a couple lines from this song - 'wash your face in the basin I made for you, it's cooked clay, modeled on a wheel' and 'move your eyes to the plate before you, I drew a lake, it's underneath your steak' are delivered with that odd, voice hitting the bottom of his register way, and are so quirky as to be great. This guy needs to stop making pottery for this woman - it's killing him. The chorus has some odd musical transitions that don't quite work for my ears, mostly where the 'lenses of lonely girl part' is. Something seems off to me though I don;t think I have the musical knowledge to define it.

Track 4 - The One the Got Away
A good honky tonk. Not necessarily my favorite genre, but this one is done pretty well. Spare drumming and the steel guitar, along with the little harmonies - all good. It reminds of Rocky Raccoon (lyrically only) and that too is a good thing.

Track 5 - The One You're Closest To
A good song that I can't quite get into. There's nothing wrong with it, and nothing I can point to, maybe it's just my current frame of mind, but this song just hasn't clicked with me. It's well written, with good instrumentation, etc, just not floating my boat.

Track 6 - City Girl
Reminded me so strongly of two artists that I know (Erin Mckeown and Gem) that I checked to see if there was any connection, which there was not. I like this song, and it was a good bit of relief to have a more prominent female voice in this collection. I like the simplicity of the vocals and the piano and the two women's voices and singing style are very pleasant to my ear.

Track 7 - Mike's Country Song
Other than Griddle Cake Joey (more later) this is probably my least favorite of the collection, and almost entirely because it seems like the ungerminated seed of an idea. They've got a pleasant little banjo ditty and a verse, but that's it. This is something that I expect to be track 34 after 16 tracks of 3 second silences. It's a novelty, and while not unpleasant, does nothing for me.

Track 8 - Neutral Angel of Fargo
Like The One You're Closest Too, this is a well written, well performed song that jsut doesn't push any of my buttons. I appreciate it, but little more.

Track 9 - Little Sunrises
This singer reminds me a bit of how Mighty Tom and Dan's bastard child would sing, particularly right at the beginning of each verse. I pray to whatever that the singer doesn't look like what that union would bring forth. I hear little bits of each of them in there. Again, I can't quite develop any sort of affinity for this song. It's could be a good song, since I can't find anything about it that bugs me, but it leaves me unphased.

Track 10 - 10,000 Lakes
Certainly a title quite apt for this Minnesota Connections collection. A song I like quite a bit, although the lyrics really throw me. 'I came for the taper, I came for the tapeworm'? I hope he did indeed get better, but I'm not sure what 'taper' is. I know what tapeworm is, and it's not good. The echoey piano is a very cool effect on this song, and the whole things really conveys a dark sense of this trip to Minnesota, which seems to be the point. In the top 3 of my favorites on this collection.

Track 11 - Griddlecake Joey (aka Juicy Shrimp Cory)
This song I could do without. It shows a fine country sense, but it too seems like a total novelty. Perhaps I'm totally missing the point of Accident Clearinghouse, but if an album from them is a collection of experiments like this and Mike's Country Song, I'll pass.

Parting thoughts in another post....

Opening comments, The Hopeful Dakota Kid

Minnesota Connections. And we all have quite strong Minnesota Connections. An intriguing theme and yet another example of the endless possibilities of this club. Even in this, Minnesota Connections could have gone in several different directions. That said, and seeing how this is being written shortly before Thanksgiving, I have this to share: I am thankful that Aaron chose not to compile a CD of his favorite Minnesota 5th Grade Orchestra selections.

Aaron's knack for design continues. I really like the greenish folds that reside inside the reddish-orange lettering. Makes me want to stroke it a little. I love that shade of blue as well.


The Hopefuls and Kid Dakota


Not only did I recognize 'Holiday' and the name 'Kid Dakota' - I was also somewhat familiar with them both. I actually have 'The Fuses Refuse to Burn' (Holiday) and 'So Pretty' by Kid Dakota. I have really gotten into So Pretty and it must have been difficult not to include anything off that album.

Question: The Hopefuls or The Olympic Hopefuls? Did they recenty change their name?

Darren Jackson can sound like Thom Yorke mixed with a little Rufus Wainright (sp?) especially on 10,000 Lakes (hey! look! I'm using numerals too). He has a really good voice for rock and pop. The guitars give the music an edge and they do lots of interesting things with their arrangements-they obviously enjoy a high level of production. I mean this in a good way - not the bad way that can make songs sound too slick, or the worse way - -when songs start sounding like Grace Slick - god that look she gives during the video for 'We Built This City' INSANE! ok, there is an excellent example of a song that suffered from way too much production. And a song that likely sounds better coming from an 8th grade orchestra from Iowa. I know this for a fact.

Back to Vol. 3

I like the bouncy rock of Holiday and the new musical elements that are introduced around 1:15. Not a fan of the hand claps but I LOVE the vocal choir thingy that comes out of the clap section.

The sound and feel of 10,000 Lakes is really nice. A heavy song that I think works really well. And more cool vocal choir thingy at 2:22 and 4:22.

Kid Dakota and the Hopefuls are certainly giving Minnesota a good name musically. I've been listening to Volume Three, The Fuses Refuse to Burn, and Kid Dakota to really soak it all in. I suppose the real test will be if I still listen to Kid Dakota and The Hopefuls in a year or so. For now - I am definitely enjoying them.

Volume Three will require further listens for sure.

The whys, whens and what fers

After a short conversation with Dan today about things IPod and other technological wonders on and off our radars, it struck me that it might be worth laying out my listening habits.

I do have an IPod, and use it every day, though not perhaps as much as one might think.

Typical weekday mornings start with a walk with Primus. This almost always involves the IPod, though at a volume that allows me to hear even birds chirping. I have a handful of weekly Podcasts, some music related, some not, that I get through in a couple days of walks, and then the rest of the time is music. Lately this has been CMC volumes 2 and 3, but also some stuff from my collection. I usually turn on NPR (news) in the house when showering/eating/getting ready. I never, ever watch tv in the mornings any day of the week. I despise the morning talk shows and I generally don't have time to sit down anyway.

Drive to work is usually a combination of NPR and various local stations. No IPod - too much trouble to hook up for the ride.

Work is so disjointed that I actually prefer The Current from Minnesota Public Radio or some other good diverse internet radio in the mornings, listening when possible, but not needing to be into a whole album. I generally catch parts of the Al Franken Show on Air America starting at 12:00pm est until 3:00, although this too tends to be very disjointed due to phone calls, questions, other reasons not to be at my desk.

Car ride home is the same as the car ride in - combination of NPR and local radio, always for music - no sports radio. That's for dicks.

Walk with Primus with IPod - podcasts or music.

Home usually is some NPR in the early evening and then nothing. Sometimes music, sometimes CMC, depending on the status of the current volume. Sometimes working on future volumes.

Weekends involves a good amount of NPR being on while I work around the house, and usually some music stretching into the afternoon and evening depending on what's going on.

The IPod gets good use on long car trips and vacations, plus times when I'm doing stuff out in the yard for which a radio is inconvenient. Also when I work in the basement on various projects.

That's it, my listening habits in a nutshell, for anyone who cares.

New member

I've invited my friend Miles to the party. Both Dan and Mighty Tom have met him. He's got a musical taste that will have some overlap with ours, but also might provide some new stuff that we wouldn't get otherwise.

Of course that means a longer wait between our individual volumes....which will be maddening.

It does bring our membership to six, which seems like a nice round number, with two volumes per person, per year.

I'll provide (or Miles will) mailing info as soon as possible.

I'll also provide him with copies of the first three volumes.

Minnesota Connections: Dan's General Thoughts

I like this idea by Pat so much, I offer now my own pre-song-breakdown reflections.

Aaron has definitely been supportive of the local music scene; something at which I (especially as a local musician) have been very poor. Knowing Aaron somewhat better, I am aware of his alt-country/americana/rockabilly leanings, and would have predicted Accident Clearinghouse, Mike Brady, Ryan Adams, and Kid Dakota to make appearances. I also would have thought he would have included The Jayhawks, but it looks like he's going more in the direction of "that which we haven't heard before." I definitely dig the style that is pervasive in the collection, but do not feel that a collection would have suffered with a little more stylistic variety (a Funk selection, a Hard Rock selection, etc.). Perhaps the title "Minnesota Connections" gave me the idea it would be more of the "pick a mix" type, showcasing the various different genres that are present in the Minnesota music scene-ones with which I am less familiar with than the ones on the disc . But, as I said, I do generally like the style so I have been enjoying my listens so far.

Interesting, one other thing: Mixdorf mentioned in an email that he's been playing around in iTunes, ordering various groups of songs for future collections. I bet there's not a one of us that doesn't have at least two or three future collections in the top of the hopper. We all wish we could just release double-albums or get a turn more than once every five months, but it is that very passion about the music that is the lifeblood of the CMC.

(for my part, I have four that I am relatively excited about, and another two that are so controversial that they could get me kicked out of the club).

Iron and Wine - Live

There is a show on NPR called All Songs Considered that fits nicely into our little collection. I heard on the recent podcast that they are having Iron and Wine and Calexico at an upcoming live show at some club in Washington D.C.

What does that mean to you?

They usually make available all of those events on their website for streaming.

http://www.npr.org/programs/asc/

And so for those of you with a good internet connection and some interest, I will post again when there is the actual link to it - just wanted to let you know how our little endeavor overlaps with real life. There's plenty of good music featured on their website too.

MIx - Minnesota Connections: General Thoughts

To Aaron's credit, he has waited very patiently while we work our way through Volume 3.

In my defense, in addition to a busy schedule, for the first time in our endeavor I'm listening to a cd filled with songs that are all new to me. That makes life more complicated, and the commenting more difficult. It definitely takes a numbr of listens to form a good opinion, and it would be wrong to comment too quickly.

A good theme, one that I would find difficult to duplicate. While I could put together a cd of New England or even just MA bands, I do not seek out local bands in the way that Aaron seems to. I don't go to shows and don't seek out local bands specifically. So unless you want a cd of The Cars, Aerosmith, and of course, Boston, I'll let this theme alone.

My acquaintance with Aaron is generally tangential, and so my understanding of his tastes are based on a) his manner of dress, b) his participation in 44, and c) his e-mail address. A few more details fleshed themselves out through volumes 1 and 2, but those were reactions to what was put in front of him and were not of his choosing. This collection changes my opinion of Aaron somewhat dramatically. Underneath that beatnik exterior, and despite an apparent respect for the greats of jazz, there appears to be a bit of a cowboy. Granted, these aren't quite country and western songs, but they are certainly strongly influenced by that genre - most of them anyway.

There is an odd incestuousness, or circular self-referential nature to a large number of these tracks. Lots of the same people operating under different guises. That obviously goes a long way towards cementing the feel of this collection, certainly more so than the Minnesota connection might alone if Aaron had indeed thrown together Bob Dylan, The Jayhawks and Prince. It tightens the collection up enormously. It also cuts down on the potential diversity.

With all that said, it's a solid collection, with some stand-outs, and some others that leave me flat, the details of which will follow.

Dan PR

Just a few general comments

The cover photo was good. Very Dan. And wow! I would never have guessed that the glasses were anything but securely in place.

Dan PR was an excellent idea. I liked the photos and found the Artist Key helpful - though 8 and 9 are flip-flopped. The special features were clever and funny.

Just today, I received Volume Three....

One Misty Moisty Morning

What do I think about this song? I've been asking myself for some time and I think I have finally figured it out.

Buck Rogers Goes to the Renaissance Festival! And that is certainly not a bad thing! This is a pretty wild song with a pretty wild arrangement. Possibly a perfect fusion between disco and Renaissance Music.

I like the bouncy music and the manner in which the arrangement grows. There is a joy to be found in this song (alas it has not to do with Erin Gray).

I am betting that their live performances are much more intense and rousing. The recorded version on this collection may be just a tad sleepy and it seems like there ought to be cheering and voices or something at the end.

When I visited with Mixdorf recently we gently perused some old Steeleye Span albums and even gave a couple a spin. We then hoped hard that someday Steeleye Span, Steely Dan, and Pat & Dan might all join together for a wonderful summer concert in 2009 in Londonderry.

Could it happen?

Gil Gerard certainly does.

Guinevere and SIWHI

Guinevere

I like the idea of a song being written about Guinevere, but I think I would have preferred something more interesting lyrically. These lyrics aren't horrible, but they fall a little flat for me. I also wasn't crazy about the point of view.

Stepping away from the lyrics I think the song sounds nice. I like the guitar, and given the set of lyrics, I think the voice works OK. The harmony coming in around 1:40 sounds really good and adds a nice touch to the arrangement - as does the organ that helps close out the song.


SIWHI

'I've Just Seen A Face' by the Beatles. By being located in a PR setting, I think certain Beatle songs could be appreciated in a whole new light. This song in particular features prominent acoustic guitar and a warm sound that would work well with some of the other songs on the collection.

Kathy's Song-Dan

Paul Simon is just an outstanding musician. He truly writes and sings great songs. I may not have heard a song of his that I didn't like. It is magical to my ear to hear a calming song that is accompanied only by a history soaked guitar. The tree that was used to make his guitar was obviously loved by God, and the guitar it self is obviously loved by Paul. Once again Dan, you get 5 out of 5 stars on that pick.

Minnesota Connections, CMC Vol.3

See the previous post for the introduction and other notes.

1. The Hopefuls: “Holiday,” The Fuses Refuse to Burn

I first heard this song, and The Hopefuls for that matter, in the car as Krista and I were on our way to a prenatal checkup, where I would hear Elsa’s heartbeat for the first time. The Hopefuls were also Elsa’s first rock show, at the Minnesota State Fair.

Pure, masterful power-pop songcraft. I love The Hopefuls’ sound, and their lyrics. I’ve heard many of the local critics refer to their music as upbeat bubble-gum pop, but I think they may be missing the underlying themes of many of their songs.

Bought a bottle of Beam
Man, it’s a force field from this scene
I heard you tried to hit on me
It’s such a pity I was too damn drunk to see

Darren Jackson, one of the co-leaders, is a recovering addict, and this comes through in many of his lyrics. Dan and Mighty Tom, you should ask your wives if they know him, he is about our age, and went to St. Olaf

This is the song you are most likely to know, as The Hopefuls have had a good amount of exposure, and quite a bit of airplay on The Current.


2. Quillan Roe: “The Buckeye Tree,” ...These First Few Months

Quillan’s voice is another you will hear again on this collection. He is one of the three core members of Accident Clearinghouse, and this is all stuff that should be listed in the “connections” section at the end, but I am using it for background, so deal. I came across this album during a time that AC had disbanded, and I was jonzin for a Qillan Roe, or Mike Brady show. I found a show for Mike Brady, but all I could find for Quillan was a reference (in City Pages I think) to his solo album. Cheapo was a bust, but The Electric Fetus came through.

I love this song, it is simple and soft and sad; and not unlike another song about a tree that we all heard recently, except this one is really about a girl. I don’t expect that this is going to blow anyone away, but it is a nice song, from a decent album. ...These First Few Months is neither as strong as some of the AC albums, nor as strong as Mike Brady’s As long as the Day is Long, but it is a worthwhile item if you are a fan of the AC boys.


3. Mike Brady: “Man the Swirl of Color,” As Long as the Day is Long

Mike Brady and Darren Jackson rank as my local favs. Mike is sort of an antihero of rock and roll. Kind of goofy looking and quiet, his stage presence is anything but commanding, but it is confident, and it works. As a guitarist and vocalist he is not going to top anyone’s “best” list, but he is proficient, and he writes catchy pop songs.

This is one of my favorite songs from this album, and (obviously) the one I most wanted to share. I love the lyrics; the poor guy pours his heart and soul into everything for this girl, and she never gives it a second thought. Musically there are things that make me think of Gibbons. Both the bass and guitar are very Pat, and the vocals occasionally give a whiff of Pat. I also love the harmonies.


4. Accident Clearinghouse: “The One That Got Away,” Written in Rope

Written in Rope is Accident Clearinghouse’s fourth album, and may be their most Country-Western. Quillan Roe, Mike Brady and Jeff Tranberry are the three members that have been constant throughout Accident Clearinghouse’s life. Each album has brought a slightly different sound and style to their music. I would have liked to included more selections highlighting the different styles that they have touched upon (from a sort of roots rock, to country swing, folk country, old-timey, to straight-up jump swing), but, you know, the “ten-song-guideline.”

“The One That Got Away” is a nice, easy country swing that makes me want to learn to two-step. The lyrics are a great narrative falling in love, getting drunk and getting your ass kicked, what more could you want in your country song?


5. The Ashtray Hearts: “The One You’re Closest To,” Old Numbers

The Ashtray Hearts are the force behind the Apartment Music sampler, which is where I first encountered many of the artists featured on this collection, including The Ashtray Hearts. The Hearts produce a beautifully depressing music. I’ve seen them three times, and if you are depressed and looking for a pick-me-up, stay away. Don’t get me wrong, they are wonderful live, but their music is more cathartic than uplifting. Murphy was with me at the Triple Rock Social Club for one of their shows (along with Kid Dakota), and I asked him what he thought. He responded, “I think I want to open a vein. The music is great, but wow.”

I love the instrumentation and harmonic changes on this song. Great lyrics, and I love the guitar solo. I almost whish I had chosen a song that featured Aaron Schmidt’s trumpet, which blends with the rest of the band beautifully, but hey, the discs are in the mail.


6. The Owls: “City Girl,” Apartment Music Sampler

We don’t own any of The Owls’ albums, (actually, I think that they only have an EP), so most of my exposure to them has been from the sampler, a couple of free mp3 downloads, and one live show. I like their songs on Apartment Music, and the ones I downloaded are OK. The live show was a bit of a dissapointment. Musically they were fine, but their stage presence made the worst 44 show look like a date on the Elevation tour. There was no attempt to engage the audience, much too much talking to each other off-mic, and if you thought 44 was too clumsy with all our instrument changes, well I am telling you we were smooth. The Owls were the reason we went, but we ended up being blown away by Kid Dakota.

But I love this song. Wonderfully simple piano, and great harmonies.


7. Accident Clearinghouse: “Mike’s Country Song,” Volume 1: Saginaw Sweetheart

Volume 1: Saginaw Sweetheart was AC’s first record, and they present sort of a raw, roots rock/country sound.

"Mikes Country Song" is a simple lament on not having enough time for the things that matter. I love the stripped down sound of AC on this song (and album as a whole), and Quillan’s high harmony at the end makes me smile.


8. Spurcut Factory Rider: “Neutral Angel Of Fargo,” One Last Time For The Record

I don’t own this record, but it is on my list of to-gets. I came across this song on the Accident Clearinghouse website, where the album is for sale. I love Erik Douglas Tasa’s voice, the guitars, and where the harmonies come in.


9. Florida: “Little Sunrise,” Drum Solo on the Bumpers

I just recently got this album, but I have had a few of the songs on my hard drive for a while. I almost chose a different song that featured Tony Mogelson on vocals, but I like this one too much. More evidence of Brady’s pop music craftyness. Love the lyrics, and the guitars.


10. Kid Dakota: “Ten Thousand Lakes,” The West is the Future

After I had the jackets printed, I realized that I had incorrectly used numerals for the title of this song. Oops, sorry.

My first exposure to Kid Dakota was on Apartment Music. Second was at the Turf Club when I was underwhelmed by The Owls. I’ve seen them three times in total and each time it has been just Darren Jackson and drummer Ian Prince, and each time I have been blown away. Read about it here.

I first heard this song as a download from the Kid Dakota website, and I only bought the album this week, so not much to say about the album, but I do think I prefer their first album So Pretty, but we’ll see. There were several candidates from So Pretty, but how could I leave this song off a compilation called Minnesota Connections? I love Jackson’s lyrics, and the music can raise the hair on my neck.


Bonus. Accident Clearinghouse: “Griddle-Cake Joey,” By Blood And Marriage

Ok, now we get to WHY ELEVEN!?!? This song was included for a special reason. While it is another example of Accident Clearinghouse’s range of styles, if that were the purpose, I would have chosen a different song. It is on here because I cannot hear this song without visualizing Joey chowin’ down, and when I visualize it, who do I see as Joey? Cory Levendusky.

Minnesota Connections, an Introduction

Well, as you can see this month’s installment deals with Minnesota music. As the title suggests all of the artists have some sort of connection with the others, most a direct connection to at least one other group or artist. These connections will be explained as I run down the list. You will not find any Prince, Dylan, or Jayhawks here. This collection represents some of my favorite local artists, and I have heard most of them live at least once, many of them repeatedly.

For each song I have included a link to a post that includes lyrics, personnel, and a weblink or two. In these posts you will also find a section detailing “connections.” I did this using Blogger’s time and date feature, to avoid clutter on the main page.

As I mentioned in response to Dan’s disappointment with the subjective nature of art, this collection runs a high risk of indifference, or even distaste from the other members. While I hope you all find the joy on these selections that I do, don’t worry about hurting my feelings. On the other hand, if you want to hear more from any or all of these artist, let me know, and I can hook you up with another sampler, or point you to places to purchase the albums (which I encourage especially for indie artists). I easily could have made this one 20 songs long.

Speaking of the number of songs, you will see that there is “bonus” eleventh song. I can already hear Hylton, “Christ, we’re three months in and already Johnson can’t keep to the ten song rule.” Not true. “Griddle Cake Joey” was included for a special reason that will be made clear when we get there.

Enjoy.

Vol.3 Pre-Release Publicity

Today, Vol. 3 is in the capable hands of the USPS. I am most likely going to be out of town when it arrives in your mailboxes, so I will try and post my commentary Thursday night. I'll offer the same warning Dan did. Want to be surprised? Stay away till you get the disk.

T-clog goes Four More

Never Going Back Again: I love this little song. The instruments carry this song. The high pitched strings on the guitar are a cool and steeley sound that blows a fresh breeze across my brow. I love the phrase "been down one time, been down two times.." It stands out and is just good stuff.

The Music Draft 05-06

With the fifth overall pick in this years music draft, T-clog picks January. Mixdorf will be on the clock. I will have some songs to share that mean a great deal to me and I think are worth putting on a CD. I will share one clue with you as to one of my songs. Here is the clue: It is a damn good song. Peace out Aaron, and I will be looking for that Cd on I-35!

T-clog takes Strike Three

Almost: This song doesn't do much for me except that it gets me to look at the play list to see what's next. When I hear it, I get a gray picture in my head. It is of a dehydrated woman sitting and looking out of a drafty upstairs window on a cool and rainy day. The lyrics are okay, but they haunt my focus. I can ALMOST smell the dirty smoke that ALMOST pours out of her mouth as she sings. Sorry Dan, but it might be my least favorite tune on the album.

My BS & SIWI

BS (Best Song): Really tough for me, as I am really emotionally connected to almost all of them. Plus, I feel a little inclined to stand up for those songs that weren't received as well, but I will do my best to resist that urge. My BS selections would be probably either Box Elder or Kathy's Song, with Such Great Heights and (yes) Almost running closely behind. I think Kathy's Song wins out, but it could just be how I feel right now.

SIAI: (Song[s] I Almost Included) A Poem on the Underground Wall: Paul Simon-a rare live recording of this song, which is just amazing. I ended up deciding Kathy's Song was a better fit. Also considered Junk by Paul McCartney, but thought I would opt for a few more songs people weren't aware of. Also considered a couple of songs that were more piano-based, but opted to stick with guitar-based music.

Somehow Mighty Tom Sensed It

Now it's time for T-Clog to step it up, 'cause guess what's coming soon to a mailbox near you...

Both Sides Now, Cherry Tree Carol, The 4a

Both Sides Now

That's the Judy Collins Way. All right!

I like this song. There is something very familiar about it. She has a very sweet voice. I like the airy music. I do fear Judy Collins though, and can only say good things about her and her art. If I were to meet her she would laser me down to the ground with her Judy Collins eyes. Then she would make me feel guilty as she wrapped me up in blankets.



Cherry Tree Carol

I am not a fan of this sort of vocal phrasing. Is Joseph angry because Mary has ordered him to gather more berries and cherries? I cannot for the life of me figure out that line. Is it not...."Joseph flew in anger..in anger flew he."?

That is kind of funny and maybe brilliant - - is this song touching on some of the emotions felt by Joseph? Joseph muttering about Mary playing the 'great with child card' as he fills his basket with berries and cherries - -ripe with attitude. I want to know more about this anger.

I do not understand the Berries and Cherries thing. Perhaps something I've forgotten from Sunday School. It might not bother me as much if I understood the context a little better.



The 4a

I like this song. The harmony coming in about half-way through is a nice touch. I like the words and the way it ends.

Never Going Back Again, except to listen to Such Great Heights!

My favorite songs from this collection.

Never Going Back Again

I LOVE this song. The unique guitars and vocals of Lindsey Buckingham at their acoustic best. The song sounds so simple - almost like it always existed. Easily one of my favorite Fleetwood Mac songs.

The first time I remember hearing this song was on Johnson Street. I think Dan actually played it for me on CD in the larger of the two lower bedrooms. I remember liking it right away. In fact, since that first listen I've been searching for it on Fleetwood Mac albums - looking for 'Never Going Back Again' but always thinking it was called 'Chains' and always ending up a bit disappointed - but alas! I have the song! Thank you! I was elated when the song started up - I totally did not recognize it from the title! Duh!



Such Great Heights

WOW! What a treat. To receive a song that I've never heard of before, an artist whom I've never heard of before. And to simply fall in love with it.

I think when this happens - -this is when the club is working at its very best.

This song is my B.S. of the collection. Never Going Back Again was the BS initially, but Such Great Heights has really really grown on me in a big way. I LOVE this song. The gentle picking of the guitar, the words, the dripping, intimate vocal, the growing arrangement (the addition of harmonies and subtle intensity), and the ending. This song really knocks me out!

Excellent song!

BOX ELDER, KATHY'S SONG, ALMOST

Box Elder

Pretty good song. Dan has made mention of this song before so I knew a little bit about what it was about. Depressing music, that is not a bad thing. I like the words for the most part - especially the first bit - about the mirror. At first I was taken aback by the middle part - probably just didn't see it coming, but after it has soaked in - it is fairly interesting - Box Elders and Christians both sort of living in the light. The levels of this are interesting. Could it be saying that Christians are invasive? I think instead it is simply saying that both are just trying to survive. Harmony is kinda nice.


Kathy's Song

A long-time fav of Hylton.

Paul Simon stole it! And Kathy wants it back - -though she is older and dragged down a bit like any good hippie ought to be.

Excellent guitar playing, and as always, superb recording of an acoustic guitar. Being a HUGE Paul Simon fan I'll be brief here and say just this: one of his many strengths has always been the treatment of instruments throughout the recording and mixing process. Be it acoustic guitars or saxamaphones. There may be no one better.



Almost


I like the instrumentation and the arrangement of the horns and guitars. I am not sure about the words, but the voice works against any pleasant experiece that this poor song trys to offer.

T-clog Tackles Another

Box Elder- A great folk song! Maybe it is the forester in me that takes this song to heart? However, it buries it's roots deep into my ears and sings it's sweet lumbering tune through my mind whenever I see a box elder tree. I am impressed with Booth in choosing something as simple as a unfavorable tree to be the focus in his song. He turns this living thing into a celebrated treasure that has been overlooked by the pirates of time. His art in doing this is second to Jesus turning water into wine. How can this not be a theme song for all of us overshadowedt in society, and its demands that we all conform to it's mainstream? We are box elder trees, unless we are the most popular, richest, or powerful. Thank you Dan for adding this great song to your picks! As a huge J. Denver fan, folk music holds a special place on my list of treasures.

T-clog's Tackling the Commentary

I will be doing only one song at a time.

Cherry Tree Carol: I love the harmonies in this song. They are calm and contrasting. The deep tones of the man and the higher sweet sounds of the woman make for a great sound. I like the lyrics a lot. Maybe because I like a good Christmas song. The song is relaxing and transcends my mind to the middle east when Christ was born. I am not offset by the religious aspect of this song. I applaud your bravery in putting it on the CD. I suspect that you had an idea that it might not get high reviews from some of the members. I have never heard it before, and I will be hearing it often come this holiday season. Good pick Danny boy!

Some Ruminations on the Subjective Nature of Music

It should have been no surprise. But already, after my first offering, my spirit is a little deflated and my mind a bit confused over how others can not, song-by-song, find the same beauty and quality in every song I selected. )To a lesser extent, I've been struck by this a number of times in Mixdorf's evaluation of my headlines.)

And it really drives home a point that even in times when we, as humans, are feeling fellowship and engaging in sharing of ideas, there is so much of a disconnect between our minds and all that goes into shaping our perception of the world around us. Our inherent tastes, our past influences & biases, etc. It can make you feel really alone in the world.

Like most people, unfortunately, I think I am unconsciously starting from the flawed premise of:

There is an absolute truth in art of which I have exclusive comprehension; and that others' abilities to hear and/or appreciate what I do indicates the relative degree to which they are flawed in that regard.

Anyway-I am hoping this excercise will help me to continue to evolve in my understanding of the uniqueness of people. I will continue to try to listen to others' collections with the most objective and discerning of ears, and I will make an effort to rejoice in those moments when our tangental art appreciation axises make contact.

Dan: Make with the Commentary! Aaron: Fine Bitch!

1. Box Elder: Nice song. It didn’t knock me on my ass, but I like it. I can see Mixdorf’s point too though. I think I would have to hear more from this artist before feeling compelled to buy an album.

2. Kathy's Song: Like pat, I am most familiar with the live version from Simon and Garfunkel’s Greatest Hits. There is no doubting the prowess of PS, in any of his phases. I would mention that even in his world music, he is still deeply rooted in Folk, just not American Folk exclusively. "Obvious Child", and his other songs of this period are a wonderful amalgam of American Folk and African Folk music.

Is this the version from Sounds of Silence? Wondering if it is solo Paul, or S&G. No Garfunkel to be heard, but if I am not mistaken, his voice is absent on the live version as well. It makes me wonder what his harmony would add to the mix. I have said before, and will again, that there are no two voices that meld together in harmony better than Paul Simon and Art Garfunkel.

This song also brings me back to Pat’s "Box Elder" comment about “perhaps a thousand other similar 'folk' songs written every year that are good, worth acknowledging, but otherwise unremarkable.” I know what Pat is getting at, but I wonder if the comment is a bit contradictory. If there a re a thousand of these songs, and they are unremarkable, are they worth acknowledging? While there are many artists that go without proper recognition, there are many, many more that go without recognition for good reason (outside of Top 40 where the opposite is too often the case). Sticking to the singer/songwriter genre, there are only so many Paul Simons, Lyle Lovetts, and Townes Van Zandts. It is that next level down, those that fly under the radar to all but the truly hardcore fans of a genre that rarely get their due. But that is what I see as the greatness of this endeavor, to expose the others to the Guy Clarks, Patty Larkins, and Nick Drakes that we have happened upon, but of whom the others may be unaware. There will be great revelations, but there will also be songs that leave no impression, or a bad one. Which brings us to…

3. Almost: Boy Dan, ever since you leant me Pale Boy, urging me to listen to this song, I haven’t been a fan. I’ll even say I hate it. I hope this falls into the acceptable comments, because it should. I think my upcoming contribution runs the risk of such opinions, and if such are generated, so be it. I do think Dan is right, in that we should refrain from just saying “God that is a shitty song,” or even “It is my opinion that this is a shitty song.” From there we head into “What is art?” “I am right and you are wrong!” and long drawn-out debates about insider versus outsider art.

Now, why my distaste for this song? That’s tricky. Is it the enunciation? I don’t think so. It is not nearly as crisp and pronounced as it would be coming from one that has trained for years to be a stage performer, and I have been moved nearly to tears by performances with much sharper enunciation. Crisp enunciation does not preclude expressiveness and musicality. But to me the vocal here does lack that intangible something. The backing music leaves me flat as well. There are a couple of things that I do like. Bits of the melody occasionally catch my ear, and tease of something that might have been, and I like the way the phrases end with the “almost…”


4. Never Coming Back Again: Now is this a Fleetwood Mac song, right? Not a solo offering? Buckingham is indeed a great guitarist. I remember becoming aware of this while watching some sort of reunion concert (I think on PBS) and being amazed by some of the subtle things he did. I also think that Fleetwood Mac is too often dismissed by those of us under 45. Some of their stuff is truly great (even some of their stuff from the 80s isn’t too bad), and they are a band that is definitely better than the sum of their parts. Love the song, not much else to say.

5. Such Great Heights: LOVE IT. Amazing. I love the simple guitar, the singing (even the breaths in the middle of phrases), the melody, the lyrics, everything. This makes me want to hear more Iron and Wine, as well as more from The Postal Service. What a great contrast from their version. Did I mention that I LOVE IT?

On the soundtrack issue, I tend to agree with Pat here. If not for the Garden State Soundtrack (plus you got a cut from former Men at Work front man Colin Hay!), this version of this song may never have happened. A Wes Anderson, or Cameron Crowe soundtrack can be like a great mix tape from that guy you never see anymore. Hmmm.

(Another option would be to pay $0.99 for just the song. That is, if you are willing to live within the world of iTunes.)

6. Both Sides Now: Think I’ve heard this version more than the Joni Mitchell version. Can’t say that I am partial to one or the other. There are times that parts of this song can grab me, and other times it does nothing for me. That is it.

7. Cherry Tree Carol: Yep, hear the PHC thing, but it really does nothing for me.

8. The 4a: Great melody, and music. It didn’t blow me away, but I like it.

9. Guenivere: This one made little impression on me.

10. One Misty Moisty Morning: This one strikes me as a bit cheesy, but I like it (hey, I love the Costello/Bacharach album).

Anyone Else?

It took Mixdorf all of three days after receiving the disk to make comments. Anyone else about ready?

Just a couple extra notes on the collection:
- These are all songs that made an immediate impression on me. Ones that I "had to have" after a single listen. Not all that common of an occurrence for me, but something that can happen. With simpler melodies, simpler arrangements, it's certainly more common.
- I think I may have, in my comments to Mixdorf's post, given the impression that I thought the Pale Boy singer sounded unprofessional. I would like to retract that. I think she's a little offbeat a little folksy mixed with choral, but I think we all get "pop" really drilled into our heads and it's easy to forget that popular music utilizes a way of singing (softening consanants, changing timbre according to volume & pitch, slurring words & generally not annunciating particularly clearly, etc.) that is by no means reflective of all other styles. Jeana Dodge is not a pop singer, but I think she has a lovely voice.