Whatever displacement activity occupying my time in this stretch of isolation is put to one side every night at 11 pm UK time to watch & listen to a tea-time concert from the home of Amanda Shires & her husband Jason Isbell where they are quarantined with their daughter Mercy, Amanda’s guitarist Seth Plemmons, his wife Kelly & Zeyke the dog. In the past month I’ve gladly accepted & enjoyed invitations to join favourite musicians like Richard Thompson & Kate Rusby in their living rooms but these daily “I So Lounging” sessions have become a much appreciated constant when you are living by the days. I’m in daily contact with family & friends but the best news we have is “I’m still here”. The opportunity to enjoy some good music, to listen in to good conversation by good people is a blessing. This weekend Jason reached out & got his band back together.
Jason Isbell & the 400 Unit have a new album, “Reunions”, slated for release on May 15th. There are three track available on the Y-tube & “What Have I Done To Help” is sounding more powerful each time I hear it. There will not be the usual promotional run for “Reunions”, the in-store record shop appearances, the national tour & even the Summer festivals may not happen. When Jason did gather the Unit from their respective isolation they chose to play a track from “Something More Than Free”. “24 Frames” is a staple of the band’s setlist & it rocks. This more living-room friendly acoustic version by musicians who are not going to play together for some time is a beauty. “This is how you make yourself call your mother & this is how you make yourself closer to your brother & remember him back when he was small enough to help you sing”. We’re all taking some time out to do that.
The quality of the “I So Lounging” sessions has been uniformly high but new heights were reached on the day we heard of the sad passing of John Prine. John was a Great American Songwriter as well as a friend & mentor of both Amanda & Jason & on April 8th they performed “Angel From Montgomery”, “Clocks & Spoons”, a favourite of their daughter who loved her Uncle John, & “Illegal Smile” while sharing stories of times shared with him. It was obvious from the sigh at the beginning of this clip that Amanda was having a tough day & she did have to take time to compose herself. I was fine as between songs they shared affectionate memories & humorous stories about their friend. John Prine’s songs are always honest & bitter-sweet & I must admit that halfway through “Illegal Smile” it was something more than dust in my eye that brought the tears.
Throughout this memorial & tribute I knew that I had come to the right place to think about & pay my own respects to a fine artist. I only know John Prine’s music but these people knew & loved him as a human being. I felt their loss & was grateful that they were taking the time to share their feelings with us. The following day a beautiful piece written by Jason appeared in the New York Times, further confirmation that none of the many obituaries & eulogies about John were more heartfelt than the performance I had witnessed on the previous evening.
Alongside their own songs Amanda & Jason are taking the opportunity to cover some of their favourite songs. Jason sang fine versions of Neil Young’s “Don’t Let It Bring You Down” & “Unknown Legend”, Amanda chose “Chelsea Hotel #2” & “Everybody Knows” from the Leonard Cohen songbook. Others have included Loudon Wainwright, a great reminder of how good a song the Allman Brothers’ “Melissa” is & a very a propos “Keep On Smiling” by Wet Willie. Last night (Sunday) I was introduced to Lennon Stella’s charming “Golf On TV”. We’ll go with Amanda’s take on Radiohead’s “High & Dry” because, after seeing her sing, play & talk to us daily for almost a month now, it showcases what an absolute talent she has & delight she is. All of the “I So Lounging” episodes can be found on the Amanda Shires channel on the Y-tube ( Episode 20 is the Prine tribute). I can only recommend that you check them out, I can only hope that they bring you as much pleasure as they have brought me.
While I’m here I’ll mention that Sadler Vaden, Jason’s trusty guitar partner in the 400 Unit has his own solo album. I had kind of guessed that Sadler had a bit of a thing for Tom Petty & “Anybody Out There” is an assured collection of modern American Rock. The more I hear the more I’m liking it.
OK, I have a couple of hours before tonight’s episode. Time to read a little more or to progress my game of “Civilization V” before settling down to enjoy whatever Amanda & Jason (not forgetting Seth & Kelly) want to bring into my living room for 45 minutes & to celebrate making it through another day. Stay safe & stay healthy everyone.
We are a friendly bunch here at loosehandlebars so it was an easy & amicable decision to leave it to bass player of the Gatefolds, original contributor Joe Brown to big up “Dogrel” in his forthcoming pick of the year’s pops. The debut LP from Fontaines DC, a young, talented gang of Dubliners is a cracker, an expression of what it is to be young, talented & Irish in 2019. Isn’t “The Boys in the Better Land” one of everyone’s songs of the year? We’re not stepping on Joe’s turf here because there are other tracks on the album that are candidates for that title.
Here they are introduced by someone called Jimmy Fallon who I once saw in a film about Baseball & now, for reasons that are not apparent to me, has a talk show on prime time US TV. Fontaines DC come on strong, confident that they have something worth listening to & the ability to make people pay attention. A 21st century garage band (like the Modern Lovers…anyone?), fronted by singer Grian Chatten wearing Ian Curtis’ grey shirt & stare, declaiming like Mark E Smith & finding a style of his own. Bassist Conor Deegan III makes it acceptable to go out of the house in your favourite band tee shirt & a pair of Mayo GAA tracksuit bottoms which I know will please a friend of mine. These guys are “gonna be Big”.
It’s been a good year for Mavis Staples. February saw the release of “Live In London”, a distillation of two shows at Islington’s Union Chapel, with no reliance on the golden hits she enjoyed with her family’s group the Staple Singers. There was plenty of material to select from the four albums with Jeff Tweedy & one with M. Ward she has made in her much-appreciated resurgence since 2010. This was followed in May with “We Get By”, 11 new songs of Faith, Hope & clarity written for her by producer Ben Harper. It’s a statement of the obvious that both records are as classy, inspirational & delightful as Mavis herself. The power & integrity of her message & her voice are undimmed by the passing of the years.
It was in May that Mavis reached the milestone of her 80th birthday & celebratory concerts were held in New York, the Apollo, Nashville, the Ryman & Los Angeles. She was joined on stage by David Byrne, Norah Jones, John Prine, Nick Lowe, a long list of others I know & those I probably should know. Some of these unique moments are captured on Y-tube clips where the visuals are shaky & the fidelity is low. So, moving forward to the end of June in a Somerset field, let’s have Mavis & her small, tight, long-serving band finishing her Glastonbury Festival set with the Staples’ hit “Take A Hand, Make A Friend”. With their luggage lost somewhere over the Atlantic Ocean everyone is dressed casually in the festival tee shirt & stretching out (a shout to guitarist Rick Holmstrom) for the encore. This woman is beautiful & a legend. Just press play, it’s all there.
Jason Isbell joined Mavis at all three of her birthday shows. There’s been no new music from him this year but he kept busy as part of backing band for his wife Amanda Shires’ new venture The Highwomen, a Country supergroup who have done very well for themselves with their debut LP. In October he & the 400 Unit returned to the Ryman Auditorium in Nashville for a third annual residency, six sold out shows over nine nights. To change it up audiences were asked to select the songs they would like to hear. I don’t know if they had any say in the tunes the band chose to cover, whoever it was they did their job well.
A 10 minute version of “In Memory of Elizabeth Reed”, with guest Hammond organ player, invokes the spirit & memory of Duane, Gregg, Dickey & all the original Allman Brothers. Dire Straits’ “Brothers In Arms” is a more surprising choice. Sadler Vaden may be the 400 Unit’s guitar hero, this is Jason’s solo turn. It’s an exhilarating, turbo-charged run through Tom Petty’s “Running Down the Dream” that makes the cut. Isbell has deservedly received accolades for his finely wrought roots-oriented songs but when this band makes some noise it’s the best American Rock currently around. The 400 Unit are the Heartbreakers, the E Street Band & Jason Isbell, he’s the Boss.
It’s a long time since I have been as smitten by a new record as I am by “Yawn”, the 4th solo outing from Bill Ryder-Jones, his first since 2015’s outstanding “West Kirby County Primary”. “There’s a fortune to be had from telling people you’re sad” sings Bill on the opening track & if melancholy was money then he would be quids in. The album is no wallow in his or others’ misery. Bill has had his share of mental health problems &, as his songwriting abilities have developed, his lyrics are contemplative yet considerate, wry & real. He’s from Merseyside, it doesn’t do to be too sensitive.
“The Prodigal Son” is a return to the musical curatorship of his earlier records. 3 of the 11 tracks are originals, the rest drawn from Blues & Gospel artists, particularly the latter, he so admires. The opening “Straight Street”, a Pilgrim Travelers’ song from 1955, sets the scene, the song receiving a respectful, energetic & imaginative revival. The four-piece band, including son & co-producer Joaquin on drums, provides stripped down arrangements, allowing space for Ry’s peerless musicianship. Backing vocalists include long-time assistants Bobby King & Terry Evans, the final sessions for Terry who unfortunately died in January.
Jason Isbell has been at the front of the stack for 5 years now. There is probably a generation of roots-based American artists that I would enjoy but just haven’t heard because Jason’s high-quality stuff is enough for me when I need that sort of thing. “Live From The Ryman” captures him & the 400 Unit on their 2017 tour, the tracks a selection from his last 3 records. Those great ones from his time as a Drive-By Trucker, “Decoration Day”, “Outfit” & “Goddamn Lonely Love”, showstoppers all, don’t make the cut. On stage the band rock a little harder, taking the opportunity to stretch out & discover just how good these songs are. Jason’s wife Amanda Shires didn’t make last year’s trip to Europe, when she does join in her instrumental & harmonic contribution adds texture to an already fine unit. She’s around for this one, “The Last Of My Kind” from his last record “The Nashville Sound” is an epic as is the take on :format(jpeg):mode_rgb():quality(90)/discogs-images/R-3113873-1488564880-7389.jpeg.jpg)
Money, drugs, ego, paranoia, politics, the usual stuff, came with the success. Sly became known for not showing up at gigs, locking himself away in his studio. missing deadlines for an album the record company expected. When that record finally arrived, in November 1971, the bright psychedelic Soul had been ousted by a stoned, ominous, prophetic Funk. “Thank You….” had become “Thank You For Talkin’ To Me Africa”, a fuzzy, even sluggish, righteous groove that could last an hour & not be too long. “There’s A Riot Goin’ On” is Sly’s masterpiece. This month I’ve been listening to 
The set included 8 of the 10 tracks from “The Nashville Sound”, a record where Isbell has expanded his lyrical palette, mixing the political with the personal. These are strange, serious times. What can a poor boy do? I’ve spent more time with “Southeastern” & “Something More Than Free” but “The Last of My Kind”, “Tupelo” & “White Man’s World” are certainly starting to hit those same spots. The showstoppers were a powerful, transformed “Cover Me Up” & his Drive-By Truckers classics “Decoration Day” & “Never Gonna Change”. The Birmingham Symphony Hall is as grand as it sounds, a beautiful room with perfect acoustics. It’s maybe not the best place for Rock & Roll but the staff were not too precious about their venue (I’m looking at you, the Barbican in that London) & I had a very, very good time.
I’m up for anything that Mike Judge puts his name to on my telly or for a bigger screen. I’ve also spent too much time watching Rock documentaries, the good, the bad & the what’s the point of this ? “Mike Judge Presents: Tales From the Tour Bus” hits both these spots, I’m the target audience, at the front of the queue for each 30-minute animated episode. I knew some of these stories about legendary Country crazies. Jerry Lee Lewis’s announcement, having been warned about profanity, at his Grand Ole Opry debut that ” ladies and gentlemen: I am a rock and rollin’, country-and-western, rhythm and blues-singin’ motherfucker!” is well chronicled but it is recounted, like everything else with irreverence & affection. The correct people are interviewed, I found the views of Myra, Jerry Lee’s teenage bride to be particularly interesting.
I knew little about Johnny Paycheck, the subject of the opening episode. Man, he was a mean motor scooter & a bad go-getter, suitcases full of cash & cocaine, the gun in the dashboard glove compartment never far from his hand Johnny P was the worst thing around, “a hillbilly with a hit”. Judge’s “Silicon Valley” is the best of recent US sit-coms & “…Tour Bus” gets another thumbs up from me.
This time around Isbell is stretching himself lyrically. He & his protagonists, mainly Southern American men, are living in Trump’s America, something needs to be said about the frustration & anger that brings. “Hope the High Road” & “White Man’s World” are not political with a capital P, his character studies are accurate & sympathetic. Any false steps, there is sometimes a slight lyrical clumsiness, is offset by great contributions from all the musicians involved. Hey I’m being picky here. The last 2 records have been very good company, taking their time to reveal their full depth & qualities. “Cumberland Gap”, “If We Were Vampires” & “Tupelo” are are already welcome guests. I look forward to becoming more familiar with the rest of “The Nashville Sound”.
“Soulfire” is infused with Steve’s abiding belief in music’s redemptive quality. Older songs, 2 that he gave to Southside Johnny, are spiritedly resuscitated. “Ride the Night Away” reclaims that great opening riff to “I Found Love” a co-write for Lone Justice. Strong new songs cover similar ground, there are 2 covers, a Blues from Etta James & a spectacular version of James Brown’s “Down & Out In New York City” (from the movie “Black Caesar”). The bold, brassy Spectoresque Wall of Sound, employed by Steve & Springsteen back then, is made loud & clear by master engineer Bob Clearmountain & it’s so good to hear the Persuasions, a classic vocal group, back on record. No new ground is broken on “Soulfire”, it’s traditional American Rock done well by one of the guys who set the standard & it’s glorious.
OK, it’s not all new music round our end, it never is. This month it’s been the Kinks that have made it to to the front of the stack & stayed there. Back when the money from my paper round didn’t stretch to expensive 12″ vinyl discs record companies offered EPs, Extended Plays, 4 tracks for less than double the price of a 2 track 45. Of course the Beatles led the way with “Twist & Shout” (1963) & “Long Tall Sally” (1964), a great collection of previously unreleased recordings. Both sold more than many hit singles. The Stones matched these with “Five By Five” (1964), new cuts from sessions at Chess studios, & “Got Live if You Want It ” (1965). EPs were mainly recycled material, a chance to buy a couple of singles you had missed. The Kinks were one group who had songs that never made the A-side but were more than album filler.
“Kwyet Kinks” came around in September 1965, a year when the group had 5 Top 20 hits. Their early energy had converted R&B influences into aggressive, punk Rock & Ray Davies, still just 21 years old, was developing a more introspective songwriting style. Both Summer hits “Set Me Free” & “See My Friends” combined a wistful lyric with a distinctive, inventive guitar sound. The oh so good, oh so fine “Well Respected Man”, a first excursion into sly social commentary, was picked from the EP by offshore pirate radios & played to an audience of over 10 million as often as any new hit. The Kinks’ record label & management doubted the group’s new direction but their fans were already on it. 
The following year “Dedicated Follower of Fashion”, a sharp lampoon of Carnabetian Swinging London, was the first in a series of acutely observed, distinctively British, classic Kinks hits. Pye, never slow to capitalise on their back catalogue, released the “Dedicated Kinks” EP, the title hit, “Set Me Free”, “See My Friends” & the raucous, rocking “Till the End of the Day”. Now that sounded like value for my hard-earned to me. A good reason for a Saturday, the one day I was holding folding, visit to the local record shop.
“How the West Was Won” is recognisably Perrettian, verse, chorus & a blazing guitar solo. A slow “Sweet Jane”/”If Not For You” riff, the Velvets & Dylan, classic Rock influences. The lyrics are a forthright, caustic condemnation of the Evil Empire, the verse in praise of a Kardashian rear-end seems a little incongruous but it’s making me laugh. There was a planned LP when the Only Ones reunited in 2008 but steroid use for a lung condition led to Peter’s voice developing a helium-tinge & it never happened. It’s great to hear him sounding so much stronger. This is the title track from a new LP, backed by his sons Jamie (guitar) & Peter Jr (bass), produced by Chris Kimsey whose long CV includes co-credit on many Rolling Stones records. 10 new songs to come, it’s gonna be good. Domino Records, 30th June 2017, say hello if you see me in the queue.
So, if I’m going to listen to anyone sing about Trump America then it’s Isbell. “Hope the High Road” is no call to arms, more an acknowledgement that many people are feeling pretty pissed about the way it went down in 2016, that “there can’t be more of them than us” & well, let’s hope things get better. I’m reminded of the anthems Springsteen & Jackson Browne used to write & if “Hope…” lacks the authority of those then these are different, less certain times. The new record is credited to Jason Isbell & the 400 Unit, his touring band who have all played on the last 4 LPs. Maybe, as he says, “I’ve sung enough about myself”, Jason is smart enough to know that relying on autobiographical lyrics for a third time could be one too far. The postman brought me tickets for his Autumn tour today so c’mon, let’s get Summer over & done with !
TeenCanteen have been around Glasgow since 2012. Carla’s voice is strong, individual & her songs are equally impressive. Their C86 lo-fi indie take on the Wall of Sound has echoes of the classic girl-group sound (Oh yeah, the 4 members of TC are all female) & the retro/modern balance is just right. They have a Sunshine Pop charm & you can never have too much of that. “Millions”, with its crying that is so Shangri-Las, is in the shops on the 22nd of April, part of a 4 track EP “Sirens”. In a parallel universe where the attraction of a 3 minute blast of pure pop music has not been diminished “Millions” would be the follow up to 2 or 3 big hit records (here’s one of them, 
I won’t presume to tell you everything about the new record, it’s only been in the house for 12 hours for Jah’s sake. “Southeastern”, like all the best things, took its time to reveal its depths & its delights. I wrote about it 
After such an acclaimed LP, one instigated & inspired by some major, positive life changes, getting straight & getting married to Amanda Shires, it was always going to be interesting what came next. Those confessional, vulnerable, raw emotions can become contrived if you go to that well too often. On “Something More Than Free” he’s still writing about goddamn lonely love & life but his blue-collar characters are more than settling, they see a little light. Working with the same producer, Dave Cobb, there are musical similarities to “Southeastern”. At the moment tracks 5, “Children of Children”, 6, “The Life You Chose” & 7, the title song, have more expansive arrangements, not grandiose but substantial, played live they should be a little more raucous, both rockin’ & rollin’. I expect the more restrained offerings to catch my attention later. Man, I’m pleased to hear this record.
It has taken some time for me to get round to “Southeastern” by Jason Isbell. The album was released in June 2013 but you have to be careful with some of this new music. It may seem all shiny, toe-tapping & necessary but…anyone want this Alabama Shakes CD because I will never play it again ? Any road up, the music Jason Isbell made with Drive-By Truckers has been in my collection for a while & still gets played. The 3 other LPs since he left the D-B Ts all have good songs on them. There is a focus & a consistency about the 12 songs on “Southeastern” that definitely makes it a keeper. Here’s one of the noisier ones now.
“Southeastern” has a lot of stories about good times & bad times, times that were both. Man, it’s tough to choose just 2 to post here. The LP sits as a piece & my picks, the earworms, change by the week. “Cover Me Up” has just won the 2014 Americana Awards Song of the Year so that may cross your path. “Elephant” is strong stuff, for adults only I guess. “Different Days” is my current squeeze, it reminds me of Little Feat’s “Willing”, a song strong enough to get the wider hearing it deserved. This time around it’s not “weed, whites & wine” but Benzodiazepine, different days indeed.
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