Kaki King is hands-down an amazing guitarist. Pick up …Until We Felt Red (her 2006 album produced by Tortoise’s John McEntire). I haven’t yet heard her new one, Dreaming of Revenge, but it’s supposed to be excellent as well. Rolling Stone has called her a “guitar god”(dess), and I heartily agree.
Radiohead have doubtless come a long way since the early days of Pablo Honey. After The Bends, they became pretty weird, but it was only the beginning. Zombie twins Kid A and Amnesiac followed, and then came Hail to the Thief–a precursor to what Thom Yorke would put out as a soloist. In 2007, Radiohead joined other artists in acknowledgment of a fickle industry and attempted to reward (not punish) voracious fans by releasing In Rainbows on the honor system; around the same time, they broadcast Scotch Mist. I’m still not sure if the euphoric In Rainbows giveaway affected its critical acclaim; in some ways it seems like a great scheme to get good publicity for selling an album that for $18 might have been otherwise underwhelming. In other ways, it seems like another in a long line of groundbreaking efforts from the Oxfordshire band.
I am ashamed to admit that I started listening to Blur only after hearing “Song 2″ (a song that I now can’t stand to hear), which also means that I watched MTV and read Rolling Stone at the time. God, how things have changed, but of all the bands that broke up and dropped off the face of the Earth, or just proved to be shite over time, Blur has managed to survive. A lot of people want them to reunite, and I’m one of them. I never really listened to anything prior to their self-titled album (which contained “Song 2″) or after their inconsistent but still noteworthy follow-up “13,” but they remain a positive footnote in my mind. They had a little competitive vibe with Radiohead, who certainly proved their worth well beyond Blur’s lifespan, but second place really isn’t that bad–and it shouldn’t reflect negatively on the good things that Damon Albarn, Graham Coxon, Alex James, and Dave Rowntree accomplished.
It’s pretty much universally accepted that Car Wheels on a Gravel Road was one of the best albums of 1998–if not the 1990s–and that it also marked Lucinda Williams’ peak as a songwriter. In some ways, it’s totally wrong to judge her post-Car Wheels efforts comparatively, but in other ways, it’s pretty disappointing that she hasn’t produced an album as simultaneously raw and tender and as well-rounded as Car Wheels. She has had successful releases since then, but none have reached the caliber of Car Wheels. This show is from almost 10 years before Lucinda hit the mainstream and aroused men everywhere with her voice, lyrics, and trademark heartbreak on Car Wheels. This from her sweet, sad, and less-appreciated days as a country girl from Lake Charles, LA. A few years after this show, she won her first Grammy for “Passionate Kisses” (below), even though it was performed by someone else. Five years later, she won for Car Wheels, and three years later, she won for her truly great song “Get Right With God.”
The sensational Todd Barry, recently seen doing the “Doggie Bounce” (below) on the season finale of Flight of the Conchords, will release his third comedy album From Heaven through Comedy Central on March 4. This is highly anticipated here at Owl&Bear. We expect each and every one of you to pre-order it.
If you’re tired of Owl&Bear posts that feature prominent female singer/songwriters, well tough luck. This here is prominent female singer/songwriter week, or at least prominent female singer/songwriter Tuesday through Thursday. The truth is, I’ve been listening primarily to women singers lately, such as Feist and St. Vincent. I have not been listening to much Cat Power, but here’s a recent shows just because. I’ve been thinking lately that Feist might be the heir to Chan Marshall’s throne, but maybe she who draws her strength from felines will prove me wrong and put out a stellar next album of non-covers. I won’t keep my fingers crossed.
Another complaint that I have about Amy Winehouse’s Grammy recognition is that her tabloid overexposure probably hurt another particularly gifted songwriter who just seems like an all-around great person (and obviously thus less likely to win anything). Here is a recent TV performance by Leslie Feist. She really deserves a lot more recognition, including a Grammy for The Reminder. There is so much more to her than “1234.” If you haven’t heard The Reminder, you should get it now. And don’t miss this great DVD.
I’ll never understand why people like Heath Ledger have to die while people like Amy Winehouse seem to live interminably against all odds. Her numerous Grammys, while they doubtless reflect a genuine talent, reek of the exploitation for which the music industry has been known for decades. I’d never heard Winehouse’s music before Sunday night, so her TV gig was telling for me–her general manner and the way she twisted her lip like Sid Vicious answered any questions about how she wound up where she is today–fame and self-destruction-wise. Her performance also told me that she’ll have to fight pretty hard if she doesn’t want her talent to become another casualty of industry greed, drug addiction, and the obscurity that follows. It will also be tough to keep people interested if she intends to keep her current formula of applying edgy lyrics to a throwback sound. Time will certainly tell for Ms. Winehouse.
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