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.