NOVEMBER BLUE by The Avett Brothers If I weren’t leavin’ would I catch you dreamin’? And if I weren’t gonna be gone now could I take you home?
And if I told you I love you would it change what you see? And if I was staying would you stay with me?
And if I had money would it all look good? And if I had a job now, like a good man should And if I came to you tomorrow and said let’s run away Would you roll like the wind does? Baby, would you stay?
My heart is dancing to a November tune And I hope that you hear it singing songs about you I sing songs of sorrow because you’re not around See babe if I’m gone tomorrow baby follow me down
I don’t know why I have to, but this man must move on I love my time here, didn’t know ’til I was gone November shadows shade November change November spells sweet memory the season blue remains
Your yellow hair is like the sunlight however sweet it shines Bit by the cold of December I’m warm beside your smile
Oh lady tell me I’m not leaving you’re everything I dream I’m killing myself thinking I’ve fallen like the leaves
I’m killing myself thinking I’ve fallen like the leaves
It feels like I’ve been posting about the Avett Brothers a lot, but that’s because I’ve been listening to them a lot. They make my blood hot, and then sometimes they make things shift around loose inside of me. So that’s real good.
According to their MySpace page, they hope to have a new release ready for sale at their shows starting November 1. Continuing under the presumption that family members make the best band members, it is a gospel album called Jim Avett and Family. According to a North Carolinian fan on their message boards, the cover photo of the album (above) is the Mt. Pleasant Methodist Church where their dad Jim is a member, the church the brothers grew up in. The same fan also wrote that it was the first place he ever saw the Avett Brothers live, in the fellowship hall for a small donation right after they had signed with Ramseur Records.
After this gospel foray, the next thing we can look forward to is their Rick Rubin-produced album in 2009, their first on the Columbia imprint American Recordings.
This brand new Avett Brothers video for their song “Murder In The City” (off the Second Gleam EP) went live over on the Paste Magazine site today. It’s quiet and gorgeous, but full of small moments that make me smile; the way his Seth’s hands pause on the ivories, the smile shared when the brothers remember the trouble they got into when they were younger, the dark look that flits across Scott’s face when he sings about “when I leave your arms, the things that I think of . . .” He looks so concerned. I know the feeling.
On the second day of its second year, Monolith solidified its place as a festival to be reckoned with. Also, Jesus took the stage in a glowing cloud of blue light — oh wait, no that’s Band of Horses. Close to divine.
Although the attendance this year was a ways from capacity, Monolith is still one of the better festivals I’ve been to recently, with its diverse lineup of acts –from hip hop to acoustic indie, cock rock to electronica– and gorgeous Colorado scenery. Maybe it’s just our mountain air but everyone seemed to be in a good mood. Each time slot had at least one band I wanted to see, usually three or sometimes four. I could live the festival through another few rounds (with permission from my liver, of course) in order to see all the acts I missed. Kudos all around this year on a solid festival well done.
If Monolith returns in ’09, I still hold onto the hope that they can bribe somebody from the Dept of Parks and Wildlife or whatever, and find a way to incorporate camping on some of the rolling land stretching out around Red Rocks (what a gorgeous location, right?) to make it more of a destination festival, like Coachella. Staying six miles down the highway at the Sheraton West was nice but not quite the same.
So Sunday — armed with Chipotle and some parking lot libations — we rolled in for day two of the festival. After braving the unseasonably nasty elements the night before, we were pleased to see gorgeous skies again that this time stayed all day. The remnants of summer were the perfect backdrop to the sunny music of Pomegranates, the first whole set I caught on Sunday.
Pomegranates sound at once epic and approachable — music that demands you take notice but in such a chiming, iridescent way. Over sugary flourishes, their multilayered percussion built and anticipated then crashed down in avalanches of catharsis. I loved their set. WOXY sponsored their stage, and also loves them; check a full live Lounge Act set here.
I heard the hard-driving scowl and Southern rock of American Bang reverberating through a wall and tentatively opened the door to see who was playing. I was summarily knocked flat; theirs was one of those sets you happen upon and everyone walks out saying, “Who WAS that?!” Kings of Leon comparisons are easy (before KOL got all clean cut and pretty) with their Nashville roots, classic rock swagger, screams and skinny jeans. It’s stuff to play loud from your 1970 Chevelle while you drive to get tickets for the Aerosmith show, and it was great.
Tokyo Police Club played at the mid-afternoon mark, and the kids from Saddle Creek seemed competent on the large stage and unrestrained in their delight. I always think I hear a smile in Dave Monks’ voice on this song, and you can see it in the pictures below.
For the final song of the Avett Brothers‘ sundrenched set on Sunday aftenoon, bassist Bob Crawford laid aside the gorgeous baroque curves of his golden standup bass and picked up an electric guitar. As the band raged and thrashed their sweaty bodies through that final song, a sort of transliteration hit me. The electric guitar personified the same sentiment of outright rock that their whole set had spoken, but in the language of things like banjos.
Moreso than the first time I saw them a few weeks ago, this set was gutting to me. I kept finding myself riveted by a wry twist of lyric in a song that was new to me, or marvelling at how their voices blended, cooperated, and fought in the way that only brothers can. Their set caught the attention of the casual listeners and the unfamiliar — even the gruff security guard down in the photo pit. I noticed him listening intently, and then forsaking his post to turn around and gape as they launched into “Die, Die, Die.” He pressed me for all the details I knew about them and actually took notes. I think a lot of folks walked away with a desire to seek out more.
The Avetts have recently spent a few weeks in the studio with producer Rick Rubin for a new album due out in the Spring. They played one of those new songs, a sweet and simple tune called “Standing With You.” When I heard it last week I was struck by the lyric, “So many nights go by like a flash, from a camera without any film” — so much so that I typed it into my phone as a memo. Maybe I took a shine to it because I have a horrible memory. But I was pleased to find this video [via] and I ripped the tune for now (so I won’t forget):
With my head spinning from the Avetts, I climbed the 472 stairs to see the talent show spectacle of Tilly And The Wall. Their set was infectiously amazing fun because they have a tap-dancer as percussionist, don’t ya know. I never learned tap dance, but if I had, this is precisely the band I would want to be in.
I only caught the tail end of the set from sexy London garage punk duo The Kills, but as I wedged myself into the area between the edge of the stage, some scaffolding, and various amps to try and get a few good pics while I enjoyed their sounds, Jamie Hince spotted me and directed a little bit of his rock god energy my way. Blending equal parts Bowie and PJ Harvey with that clear White Stripes energy, I was impressed.
Band of Horses was seriously meant to play a venue like Red Rocks. Along with recent groups like My Morning Jacket who have sent their majestic songs cascading through the oxygenless air to rain down upon the happy masses, Ben Bridwell’s haunting high tenor sounded flawless, the band powerful in that setting.
Airborne Toxic Event has been busy in the week since Monolith, defending their art to the soulcrushers at Pitchfork, but at the show I saw they were single-mindedly focused on bringing their songs to life. They played on one of the smallest stages Monolith had to offer and packed it in — imagine the swells of this immense and cinematic song bouncing off the wall of red rock in that underground cubbyhole. Is it just me, or is this a great song? “You just have to see her; you know that she’ll break you in two.”
After Dan Le Sac vs Scroobius Pip impressed the heck out of me at Coachella, I told everyone who was undecided in the late afternoon that their set was the one to see. With their intelligent and literate songcraft mixed with can’t-sit-still beats, I wasn’t disappointed this time either. Theirs was the single most crowded show I saw on the WOXY stage. There were two entrances into the hallway pitstop where the stage was wedged, and both doors had a line 20-30 people deep trying to get in to hear them. Deservedly so.
Thou Shalt Always Kill – Dan Le Sac vs Scroobius Pip (the original version, which I like better than the cut that made the album)
Cansei de Ser Sexy (CSS) was in their element headlining the second stage in the gusty September wind while the tightly-packed crowd danced under the stars. They sounded fantastic and fun, although I must say that Lovefoxx kind of confused me with that fluffy thing that maybe she borrowed from Bjork. By that point in the night it is good to know that Matt Picasso and I were on the same page; he wrote about the “poofiness that defied gravity” and admitted “while I should’ve probably been focused on how great they sounded, I kept thinking ‘wow, that Christmas tree thing is amazing.’” I’m so right there with you buddy. But the best thing was that watching her dance in it made me want to dance too. Which I suppose is the point.
Last night eight of us made the three-hour drive up to the mountain town of Steamboat Springs to see these North Carolina siblings perform. I came at the behest of a friend who saw them once, said they changed his life, and proceeded to see them ten times on one tour. Last night was his eleventh show, and the fans there all seemed to possess similar levels of devotion. Although the music finds its roots in a backwoods-bluegrass kind of heritage, the show felt more like a punk rock performance in the spirit and the energy, the yell-out-loud immediacy. More than anything, I stood there happily perplexed for the first several songs as my neurons fired and tried to categorize a performance that defied it. This is their performance of Paranoia in Bb Major:
Scott and Seth Avett look like they stumbled in from the same cabin that Ray LaMontagne lived in out in southwestern Maine, and they seemed right at home in the small auditorium all open along the walls to the green hills covered in wildflowers. Their voices combine flawlessly, as only siblings can, whether they are shouting out one of their foot-stomping numbers or weaving a gorgeous dirge backed by a string duo. As they stand, Seth plays the hi-hat with one foot, and Scott has a kick drum – and the urgency pounds out while they strum as hard as they can.
I kept warning my friends that if they played “If It’s The Beaches” I just might cry and wouldn’t be able to help it (and who wants to cry on their birthday, really). That song slays me for so many reasons, both for they way it echoes some personal disappointments in my life, but also the immensely beautiful sadness and love that it captures in the pure lyrics. After a set that completely satisfied, they came out for the final song of the encore and launched into “If It’s The Beaches.” Dammit, I found those big fat tears slipping out unallowed from my eyes, but don’t tell anyone. But you know, even though I was crying (just a little!) on my birthday, it was a beautiful moment on an amazingly beautiful night and I didn’t mind.
The Avetts are back in Colorado for Monolith in a few weeks, and then they have dozens of other shows coming up. Seriously. You must go. An incredible, visceral, unclassifiable performance.
North Carolina’s The Avett Brothers stretch their rustic tunes into unclassifiable yet beautiful territory on a regular basis. Their 2007 album Emotionalism reverberated with twang, but also rollicked and screamed with a healthy dose of smack-you-in-the-face rock and roll. And then they also go and wrench out these spare, honest, gorgeous ballads that hurt to listen to (please hear “If It’s The Beaches” from the Gleam EP, for my favorite excruciatingly lovely example).
On July 22, they will release the second installment in the raw Gleam series, and following in the initial footsteps of the first recording, “the Second Gleam EP sings to the uncommon senses of the common man.” Our first listen of this collection comes via new song “Murder In The City.” A friend of mine is a bit of an Avett Brothers megafan (to put it mildly), and recalls one particular time he saw them perform this song. He writes that it was “effing heartbreaking. Scott was crying on stage, my friend Kevin was crying in the audience, the rest of us were fighting back the tears.”
The Avett Brothers play Steamboat Springs on my birthday (warranting a road trip in what is sure to be one of the top birthdays in my recent memory), followed by a hotly anticipated appearance at the gorgeous Red Rocks on Sunday Sept 14th as part of the Monolith Festival.
This stark, bittersweet song from North Carolina’s The Avett Brothers was originally on their 2006 EP The Gleam. It’s going to reach new sets of ears this Friday when it’s featured on the TV show Friday Night Lights. I don’t watch this show. But I am glad to hear these boys will be getting some primetime exposure; their most recent album Emotionalism (2007, Ramseur Records) has, as I wrote, “raw and joyful harmonies, if you can acclimate to the twang that smacks you in the face. But kinda in a good way.”
This song mutes the twang in favor of an echoey piano and strings, creating something that feels dusty and resigned. The last stanza of this song is arrestingly beautiful.
IF IT’S THE BEACHES Don’t say it’s over Cause that’s the worst news I could hear I swear that I will Do my best to be here just the way you like it Even though its hard to hide Push my feelings all aside I will rearrange my plans and change for you
If I could go back That’s the first thing I would do I swear that I would Do my best to follow through Come up with a master plan A homerun hit, a winning stand A guarantee and not a promise That I’ll never let your love slip from my hands
If it’s the beaches If it’s the beaches’ sands you want Then you will have them If it’s the mountains’ bending rivers Then you will have them If it’s the wish to run away Then I will grant it Take whatever you think of While I go gas up the truck Pack the old love letters up We will read them when we forget why we left here
Happy Monday folks. I forgot to announce the Brushfire Records contest winner on Friday because I was up in Boulder, but in a random drawing (seriously; I made up 46 little pieces of paper and numbered them in the name of fairness) reader Kevin Cornwell wins the sampler packs of albums from the Brushfire lineup and a t-shirt. Yay Kevin! Please email me with your address.
If You Wear That Velvet Dress Jools Holland and Bono The friend who sent me this song admits to skipping “If You Wear That Velvet Dress” when he listens to Pop, but for me the original is a smoldering hymn to clandestine longing that rarely gets passed over. This 2002 big-band swing version from (Squeeze founder) Jools Holland’s More Friends: Small World Big Band, Vol. 2 album takes a slightly different tack. The whispered aching and subtlety of the original turns into something almost brash — more breathy jazz singers lounging on pianos than smoky velvet dresses. Still, totally worth having – the album also features duets with folks like Stereophonics, Badly Drawn Boy, Tom Jones, and Huey of Fun Lovin’ Criminals.
Today (Smashing Pumpkins cover) Ben Kweller When I first read about this compilation album of Smashing Pumpkins covers from the good folks at SPIN (speaking of which, I’malmost finished reading my first Klosterman book) and MySpace, I wanted to stab my eye out with a black eyeliner pencil. This Ben Kweller contribution was the only one that sounded mildly interesting to me out of the lineup (if a bit unnecessary?). I love Ben, and here Ben sounds a bit bored, even though he does pretty up the singing (85% less angst) and do a real nice intro. HOWEVER. The appreciated facet of this song is that now for the first time I can understand many of these lyrics, and can sing them without mumbling through those parts (“I want to tmmmhmm you mmmmmm….I want to mmm dmmmmm hmmmmm….”). The CD is packaged with the July issue of SPIN.
Lose Myself Lauryn Hill Where oh where is Lauryn and why does she just tease us with an astounding album like The Miseducation of Lauryn Hill and then vanish for coming up on 10 years (okay, except for the Unplugged thing)? I love that album and I have missed her talent. This track is a contribution to an upcoming kids movie (Surf’s Up) and, sure, sounds a little soundtracky, but I have to admit I find the skittery stop-start beat in particular to be irresistible. Oh yeah, and the soundtrack also features Pearl Jam. No – for real.
In The Words Of The Governor Sufjan Stevens Wait, so we’re sure this is the same Sufjan who plucks the banjo gently, sings in a breathy lovely voice, and makes me cry with finely wrought songs like Casimir Pulaski Day? In this new track from the Believer Magazine 2007 compilation album he wails and chants and channels the Beatles at their most psychedelic. Wha? Way to show us another side, Soof. [via]
Will You Return? The Avett Brothers Speaking of the Beatles, what would it sound like if they’d been raised deep in the heart of Appalachia? Maybe a little bit like the plucky fusion of North Carolina’s Avett Brothers. I am hearing these raves for their newest release Emotionalism, and this song makes me smile from the opening count-off. You can hear the smile in his voice. The album is raw and joyful if you can acclimate to the twang that smacks you in the face. But kinda in a good way.
Name: Heather Browne Location: Colorado, originally by way of California Giving context to the torrent since 2005.
"I love the relationship that anyone has with music: because there's something in us that is beyond the reach of words, something that eludes and defies our best attempts to spit it out. It's the best part of us, probably, the richest and strangest part..."
—Nick Hornby, Songbook
"Music has always been a matter of energy to me, a question of Fuel. Sentimental people call it Inspiration, but what they really mean is Fuel." —Hunter S. Thompson
Mp3s are for sampling purposes, kinda like when they give you the cheese cube at Costco, knowing that you'll often go home with having bought the whole 7 lb. spiced Brie log. They are left up for a limited time. If you LIKE the music, go and support these artists, buy their schwag, go to their concerts, purchase their CDs/records and tell all your friends. Rock on.
Happy Monday folks. I forgot to announce 
Name: Heather Browne
