Bonnie Prince Billy 'Ask Forgiveness'

I have been accused of liking everything I review, so I am going to make a concerted effort to find some absolute rubbish to listen to in the next few weeks. In the meantime, I have been enjoying this absolutely lovely eight track EP of covers by Will Oldham.

Albums of cover versions are often recorded as contractual obligations or to buy an artist some time while they are working on new original songs, but this has evidenly been made as a result of Oldham's sheer love of music in general and these songs in particular.

This is a very low key release with no fanfare and the packaging does not contain a tracklisting, just a list of the writers of each song. For TracksandGigs this has meant some 'internet research' had to be carried out. Each of the songs is recorded with a light acoustic sound with hushed vocals and harmonies (courtesy of Meg Baird from Espers), making them sound like a companion piece to last year's mellow 'The Letting Go'.

The first track is a cover of Mickey Newbury's 'I Came To Hear The Music' which happens to be my Mum's favourite song ever and apparently the first song I ever heard, as a child of a few day's old! Here it sounds quite beautiful, sparse and low key but still powerful. Oldham's version of Bjork/Thom Yorke's duet 'I've Seen It All' is equally memorable and almost hypnotic. Those who have never heard the song before will find themselves hanging on every word of the extremely engaging lyrics.

The quality continues, there is no duff track here at all. Halfway through he even throws in a brand new original song, 'I'm Loving The Street' which is maybe the most joyful Oldham song I have ever heard. The highlight comes at the end with an unexpected version of R Kelly's 'The World's Greatest', drawing attention to the power of the words and doing away with the vocal histrionics, it is a revelation.

This is a really wonderful collection of songs and a joy to listen to.

9.0

a non-music weekend / darjeeling limited

I have just had, very unusually for me, a weekend with very little music involved. Didn't go to a gig, didn't buy a record, didn't listen to much music. Weird. What did I do?

I went swimming, but thats not unusual, I go swimming every day. On Saturday I went to the football with my brother, Luton Town beat Southend. It was a great game. I mean, technically it wasn't, but we won and we probably deserved to and I just enjoyed it so much. The worse Luton Town are, the more I love them. When they were good recently, I lost interest slightly.

Yesterday, we went to see The Darjeeling Limited which is the. new. Wes. Anderson. film.
This is a huge event for me. At the risk of turning this blog into TracksandGigsandFilms, I am a big Wes Anderson fan and The Life Aquatic, which came out two years ago, is my favourite film ever. I enjoyed Darjeeling, but thats not enough for me and a Wes film, I expect to be affected by it, touched by it and I expect it to carry me through the two or three years til the next one. Was it that good? Truth is, I don't know yet. I need to go and see it again and I may do that this afternoon (I have a day off). The soundtrack was great though, as it always is for a Wes film.

Anyway, I am saying nothing of note here so I shall leave. I will return tomorrow with my more considered thoughts on The Darjeeling Limited. and other things.

Buffalo Tom in London on Saturday. 'Phew rock n roll' eh readers?

American Music Club- new LP

Both of my long term favourite bands release new albums in February, and both have returned with 'modified line-ups'. I speak of course of Tindersticks and American Music Club.

AMC are back with only Mark Eitzel and Vudi present from the original line up. My view on this is, that as long as Mark and Vudi are there it is still AMC and it is perfectly OK.

I became a fan of American Music Club in the late 90s when they were on, so it seemed then, a permanent hiatus. During the years before they got back together I saw Mark Eitzel play a solo show at Dingwalls and this remains one of the greatest gigs I have ever seen. I have never felt so supportive and protective of an artist as I was in those two hours. Just getting through the gig without walking away seemed to be a personal battle for Mark and for every sulk or change of guitar, you knew there was an amazing song coming up if he could keep going. I'll never forget the version of 'Last Harbour' he played that night.

I got to see AMC play live twice after they reformed in 2004. The first was an exceptional gig and a real joy to see Mark looking so happy and comfortable on stage, the second was a bad gig mainly due to sound problems. Mark had a face like thunder throughtout. This is how it is with Eitzel and AMC, you never know what kind of show you're going to see but its always worth going along because the good nights make up for ten of the bad.

So, now they're back. New album 'The Golden Age' is out in February with a UK tour at the same time. Their US record company have put a track from the album on their website (see link below). Its called 'All The Lonely Souls Welcome You to San Francisco', a title that only Eitzel could come up with. Its a lovely song, more 'California' than 'Love Songs For Patriots', with a chorus that you'll be humming all day. Enjoy.

http://www.mergerecords.com/news.php?month=Nov%202007#327

Tiny Vipers 'Hands Across The Void'

The name Tiny Vipers suggests to me a punk band or at the very least an indie-rock band, especially when the label releasing the album is Sub Pop. In fact, Tiny Vipers is the name being used by Seattle-based singer songwriter Jesy Fortino and this is her debut full length album.

This seven track LP takes some getting to know. On first listen, it is cold and uninviting but perserverance pays off here. The majority of the songs here are solo, acoustic numbers with Fortino creating sparse repetitive melodies and singing over the top of them with a voice somewhere between Joanna Newsom and Chan Marshall.

The opening two tracks 'Campfire Resemblance' and 'On This Side' follow this formula perfectly, the latter featuring some touching lyrics and a catchy melody. It is on the six-minute 'Forest On Fire' that things really take off. A gentle ballad with a chiming acoustic melody, halfway through the acoustic guitar gradually gives way to discordant white noise which builds up as the song progresses before taking over the song completely. Its an amazing sound and an incredibly haunting effect.

This is followed by 'Shipwreck', a gorgeous, melodic song with lyrics about loneliness but with the hopeful refrain "We want to live 'cause we know that life is beautiful/ Though surreal at times." Still to come is the extraordinary ten minute long 'Swastika' which has three distinct parts, with the noise returning at the end.

This is not an easy album but it will reward those listeners who return to it after the first, confusing listen. Fans of early Low in particular will find the sparsity and atmosphere of these songs a delight. I'm really looking forward to seeing Jesy play live in a couple of week's time. In the meantime, this album is highly recommended.

9.1

Stina Nordenstam 'The World is Saved'

Sometimes an album that isn't considered to be great or even to be the best example of an artist's work will, for some reason that you can't quite put your finger on, become one of your favourite albums and end up meaning a lot to you.

This is the case for me with 'The World is Saved'.

Stina Nordenstam is a Swedish singer-songwriter. Unfortunately for those of us who are fans of her's, she is reclusive, never plays concerts and releases an album approximately once every five years. She has an amazing voice, soft and gentle but also powerful and unforgettable. The music she makes takes in a number of different styles, from rock to jazz.

'The World is Saved' was released in 2004 and remains one of my favourite records. The music is a mix of jazz, pop and rock with pianos, strings and synthesisers at the forefront. It is possibly the most 'wintry' album I have ever heard. Stina's voice is like a whisper, sometimes barely audible over the music. This is an album to be played from October to March, listening to it reminds me of cold December days and climbing the steps of Luton train station on the way to meet my girlfriend after work. The opening track 'Get On With Your Life' starts with the following memorable opening verse

"They put a needle once in my spine
It took them so long to find it
I can't get this porn film out of my head
Let's get on with it."

The song is uplifting, even with the downbeat lyrics.

'Winter Killing', a song about a love triangle, acknowledges the feel of the album with the line "I knew I had to leave, cos Spring was coming". Spring is no time for Stina to be around. 'Parliament Square', a gorgeous piano and strings ballad sums up the tone of the album's lyrics in one line "This is a downcast position, at least it is real".

Everything on this record sounds great: the range of instrumentation, Stina's voice and there are some lovely tunes here too. 'Butterfly', an upbeat jazzy number is maybe the most funs ong Stina has ever recorded.

But, as I said sometimes records touch you for no reason that you can easily put into words. I always turn to this record when I'm feeling lost. It makes me feel cold but it is a comfort. To me, this album feels like a long walk in the snow, followed by a sit by the fireplace with a hot drink. Marks out of ten don't even cover it.

If you've never heard any of Stina's music, I strongly recommend you go to:
http://www.stinanordenstam.net/html/media.html

The Hold Steady 'Boys and Girls in America' (special edition)

The first time I listened to 'Boys and Girls in America' I had bought it on the back of a good review and played it once, decided it was "ok but a bit too Americana" and put it on the pile of cds to sell on ebay. Ten months later, my house has three copies of the album, two copies each of 'Separation Sunday' and 'Almost Killed Me' and two t shirts purchased at what I consider to be my favourite gig of all time. How did all this happen?

I have The Guardian's Laura Barton to thank. Reading her 'Hail Hail Rock n Roll' column one Friday, I liked a verse she quoted from a Hold Steady song and decided to revisit the album. I put it on that evening while we were doing the washing up and the rest is you know what.

If you let The Hold Steady into your life, you have to be aware there is a good chance you will fall for them in a big way. This has happened to me. I started to get to know the songs on BaGiA. The anthems made the biggest impression to start with. 'Chips Ahoy' is a fun song about a girl who can predict which horse is going to finish first, it has a great chorus and you will find yourself singing it walking round the house. 'Chillout Tent' is 'Summer Nights' re-written for the 21st Century and 'Party Pit' with it's "Gonna walk around and drink some more" hook may as well have been named 'The Ballad of the Hold Steady'. This is a record you can get to know really quickly.

Its the third Hold Steady album and singer Craig Finn wrote the words so that all the songs would fit under the banner of the Kerouac quote "Boys and girls in America have such a sad time together". His literate storytelling sits on top of some anthems and big ballads in the style of the E Street Band or The Replacements. This is good, old fashioned celebratory rock and there is nothing wrong with that. Finn makes it special. He is a ball of nervous energy, repeating lines from other songs and giving his all to the record, its a wonderful vocal performance.

There are so many highlights, possibly the two standout tracks are 'Stuck Between Stations' a tribute to John Berryman and 'First Night' where Holly, Charlemagne and Gideon (characters from the previous two Hold Steady records) suffer the comedown of the morning after the night before, Franz Nicolay's keyboard sound making this song particularly magical.

I enjoy listening to this record so much, in many ways it is pure escapism. I sing along with every song and there are numerous verses and lines that make me smile every single time. You have to be aware that The Hold Steady will do this to you, you'll start quoting lyrics at people, playing songs to people who have already said they're not keen, you will start to simply refuse to believe that not everyone believes they are the greatest band in the World.

So, if you don't own this album yet, I can't recommend it any more highly. Just be prepared for the possibility that you probably won't want to listen to any other music for the next few months. Then you'll buy the first two albums and find they are equally as good.

If you already own this album, do you need to buy the special edition? My advice is that if you're a Hold Steady fan, you need to get this. The bonus disc is a live acoustic cd and features two previously unavailable songs 'Modesto's Not That Sweet' and 'You've Gotta Dance...', but it also features some stellar recordings of Hold Steady classics. 'First Night' sounds great here and 'Cattle and The Creeping Things' is thrilling.

The only thing left to wonder is where The Hold Steady go from here. The news that they have demoed enough tracks for a new album and are already playing some of these songs live is very welcome indeed. For now we should raise a glass to the album of the year.

9.8

the most gorgeous thing you will hear today

Radiohead did a 'webcast' last night. I'm not sure if 'did' is the correct verb, but if you can suggest a better one, please let me know.

Tracks and Gigs were either watching Heroes or asleep at the time, so did not catch it live. However, from the session a cover of Bjork's 'Unravel' has come to my attention and it is unspeakably beautiful. Just piano and Thom Yorke's voice, this is magical and very lovely. You can hear it here
http://www.pitchforkmedia.com/page/forkcast/46999-radiohead-entanglement-webcast-including-unravel-bjrk-cover

Luke A Murcott

Sometimes you stumble on some really nice music and you can't even remember how you found it.

Tracks and Gigs has discovered the myspace page of Luke A Murcott and there is some lovely music to listen to there. You only have to look at Luke's influences to get an idea of what to expect: Tindersticks, Nick Cave, Lee Hazelwood, Leonard Cohen....

Sure enough, what you hear is solo acoustic songs delivered with just a 12 string guitar and a voice. And what a voice. Initially odd, unsettling even but when you get used to it, it becomes a wonderous thing indeed. Somewhere between the voices of Cohen and Staples but deeper than either, it is a slow, warm croon. The lyrics are as you would expect, all rivers and midnight and forests and heartbreak. The guitar playing is dreamy but powerful. This is lovely, sad folk music delivered with great care and meaning.

Luke A Murcott apparently has recorded an album, but Tracks and Gigs has yet to find anywhere to buy it. For now you can hear these songs here:
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=213452488

too busy

Having a full time job and trying to keep tracks and gigs updated is sometimes very tricky. I have several posts and reviews in my head but getting them from my head and onto the worldwide interweb is proving challenging this week.

On Monday there will be a review of the 2CD deluxe re-issue of The Hold Steady's 'Boys and Girls in America'. This is already my Album of the Year by a long, long way but the fact that they are re-issuing it with a bonus live cd just gives me another opportunity to write about it and that is a great thing.

This week I've been mostly listening to 'In Rainbows' which I may have previously underestimated. Its a gorgeous album and really grows on you with each listen. 'Faust Arp' is currently my favourite.

anyway, proper update soon...

Blitzen Trapper 'Wild Mountain Nation'

Blitzen Trapper, from Portland, Oregon, have apparently released two albums before this one but they only came to my attention with 'Wild Mountain Nation', an album that will make you think Pavement's 'Wowee Zowee' had a kid brother waiting in the wings all this time.

Every year there seems to be a 'new Pavement'. In 2006 it was Tapes n Tapes, although their album 'The Loon' was probably more Pixies than Pavement. This year, it is undoubtably Blitzen Trapper and there is some justification to this label.

'Wild Mountain Nation' is an album which contains references from just about every genre you can think of. At it's core is a kind of skewed lo-fi country jangle which works best on the title track and 'Summer Town' which are lovely sing-a-longs with sweet lyrics and probably more heart than you'd find on any Pavement record. Elsewhere there is lots of chaotic indie rock with some weird sounds and rhythms.

All in all this is a very enjoyable record with two or three really beautiful songs. Well worth a tenner of your money.

8.2
(out today on Sub Pop)

a tale of two Dylan covers

I finally invested in 'I'm Not There', the Dylan covers album. Was a bit sceptical because I have yet to hear anyone do a better version of a Dylan song that Dylan himself. However 'I'm Not There' contains tracks from such a dazzling array of artists that it has to be checked out.

Unsurprisingly, after a couple of listens, it appears to be a mixed bag. Rather than attempt to comment on all of the renditions, I thought I would highlight a couple of efforts that show how wildly inconsistent covers albums like this can be.

The Hold Steady's version of 'Can You Please Crawl Out Your Window' is wonderful. Choosing a relatively unknown song from the 'Highway 61 Revisited' era, the song starts quietly with just Craig and Franz Nicolay's keyboards in evidence before turning into a full band stomp with some wonderful guitar and those great cymbal sounds that I love from 'Chips Ahoy'. Just when you think things can't get any better, Craig shows that his habit of taking lines from songs and placing them in other songs isn't just confined to Hold Steady songs, as the coda features a line from 'Positively 4th Street', "You've got a lot of nerve to say you are my friend". It fits perfectly and the song is evidence of a band at the very top of their game, full of confidence.

On the same record Sufjan Stevens takes on 'Ring Them Bells', one of my favourite Dylan songs. It is on 1989's 'Oh Mercy' album and, along with 'Man In The Long Black Coat' which Mark Lanegan does a great version of here, was a sign of Dylan rediscovering his muse. A beautiful, dark, haunting ballad. Here it is an ugly, lazy mess. Starting off quiet with Sufjan singing the words with very little feeling, the last three minutes of the song sound like the soundtrack to a children's party. Musically it sounds like an out-take from the 'Illinois' out-takes album, vocally it sounds like Sufjan is totally disinterested. The whole thing completely loses the feeling and meaning behind the original song and ends up sounded like an unedited jam. Appalling.

I think the difference between these two covers is that one is from the heart and one is from the brain and we all know that music from the heart wins every single time.