I heard this live version of Born to Run this morning, and it fully transported me out of a weird rainy day mood into the epic, romantic, unparalleled drama that is a Bruce Springsteen song. There is so much I love about the Boss (as a person + performer + musician + writer), but perhaps what I love most is how his songs are very dramatic but somehow earnest and never overwrought. He truly lacks subtlety as a songwriter, but it works so well. I think it’s because he is an earnest person and believes entirely in the power of music in a very pure and not jaded or sarcastic way. It rocks. And it means we get lyrics like “I wanna die with you, Wendy, on the street tonight in an everlasting kiss.” Hell yea.
In an interview with Fresh Air a few years ago, Terry asks Bruce if he would ever say such a thing outside of a song. He laughs, and says probably not but acknowledges too that he loves the license for drama songwriting gives him. We love it too!
The amusement park rises bold and stark Kids are huddled on the beach in the mist I wanna die with you, Wendy, on the street tonight In an everlasting kiss
The highway’s jammed with broken heroes On a last chance power drive Everybody’s out on the run tonight But there’s no place left to hide Together, Wendy, we can live with the sadness I’ll love you with all the madness in my soul Oh, someday, girl, I don’t know when We’re gonna get to that place Where we really wanna go and we’ll walk in the sun But ’til then, tramps like us Baby, we were born to run
Also sharing this song from Tunnel of Love that is soapy and perfect. The chimes at the end make it – pure Bruce.
This blog has featured Brad Mehldau quite a bit, and for good reason: he’s the goat. The piano goat. But who is the singer-songwriter, indie-grunge, acoustic guitar goat? Elliott Smith, of course. And sometimes, wonderfully, legends of different musical worlds crash into each other. This happened in LA in the late 90s when Brad went to an open mic and saw Elliott sing and play guitar. As he described to us Saturday night in Oakland, his mind was blown. Over the next five years, the two got to play together a few times (see below).
Last year, Brad released an album featuring Elliott’s music, something he says he long wanted to do. It’s a beautiful tribute; the arrangements are lush and full but never detract from Elliott’s melodies. For the album, Brad recruited the one and only Chris Thile to play mandolin and sing as well as Daniel Rossen on guitar + vocals, Felix Moseholm and John Davis play bass, and Matt Chamberlin (Pearl Jam!) on drums (and “screams” on “Everything Means Nothing to Me”).
Earlier this year, Brad announced that he would be doing a truncated tour behind the album. For the tour, he would be joined by Chris Thile, Matt Chamberlin, John Davis, Blake Mills on guitar (!), plus an orchestra conducted by Dan Coleman.
I have been a Chris Thile and Blake Mills fan since 2016-17ish. I was introduced to Chris when I went with a friend from WKCR to see the Punch Brothers at Rockwood Music Hall (RIP). It was pretty mind blowing, especially as someone who hadn’t seen a ton of bluegrass at that point. So, thank you, Charlie. I fell for Blake not long thereafter, first, via his album Heigh Ho. I love love love “If I’m Unworthy” and “Don’t Tell Your Friends About Me.” Such cool, interesting, genre-bending songs. Great guitar tones + lines, and I also love his style of singing. Zach described it once as “pushing” words out which I think is spot on.
This super group would visit LA, Oakland, Portland, OR, and Groton, MA. As alluded to in my previous post, I live in New York (Prospect Heights, Brooklyn aka heaven on earth, to be precise). Ugh. I figured I would take the L on this one, but then my concert-committed, jazz-loving, cool CA-based mom asked if I would consider flying out for the Oakland show (and long weekend with fam). Side-note: my parents were introduced to Elliott via this album and have since become big fans which I love. My mom recently sent a pic of Sweet Adeline sheet music; she’s learning it on piano. Of course, I will and have traveled for shows. Lesser shows included. I would be there.
My sweet family and I had dinner in Oakland at Pomet before the show. It was tasty, although the vibes kind of made me miss BK. Contrary to stereotypes re Californians and NYers, I find people much more friendly and open in NY (BK especially). Bay Arians (?) are of a cooler temperament. And I like talking to people. I like people generally, in fact, which doesn’t seem to be the universal vibe in SF these days.
Anyways, somewhat surprisingly given our accumulative years in the Bay + frequent concert attendance, none of us had been to the Paramount. It’s absolutely gorgeous. Art-deco with spectacularly high ceilings and gold painted intricately carved wooden walls. It reminded me a bit of the glory of King’s Theatre in Flatbush, but it’s much narrower theatre which definitely is better for the sound. I felt much anticipation seeing Blake’s guitars (including a really gorgeous sunburst red hollow body Gibson).
The band + orchestra basically played the entire album! For “I Better Be Quiet Now,” it was just Brad + the orchestra at first. Brad’s treatment of that song is so incredible. The solo-piano moments were some of my favorites. His intense familiarity with these songs and their melodies is obvious. Hearing him weave in and out and all around Elliott’s songs is special. For me, the highlights were I Better Be Quiet Now, Between the Bars, The White Lady Loves You More, Color Bars, and (the encore) Son of Sam.
Two songs made me weepy. I Better Be Quiet Now and Thirteen (the only non-ES cover). I love Thirteen so much. I think it is one of the most tender, heartfelt, gorgeous songs . I love Elliott’s version, and also the Bedouine led trio + Wilco versions. (See below!) And I love the Big Star original! Brad’s version was stunning, heart-breaking. Entirely melody driven and true to the song. Not that jazz-y (tbh none of the show/album was/is, and I am glad about that, no shade to jazz, obviously).
For me, the show was really about the music, a true tribute to how special these songs are/Elliott’s songwriting is. But, of course, the band was wonderful. Chris Thile absolutely shredded on Southern Belle. And, throughout, watching him listen in ecstasy to Brad playing these songs was a glorious experience unto itself. Blake added really cool noise to a lot of the songs and also sang harmonies. Matt Chamberlin was noticeably incredible, tight as hell. It was also interesting to hear Brad play with a non-jazz drummer. Jazz drumming is so specific. This was a different experience in a cool way.
Grateful! Grateful I made it out west, and for my family and for Brad and the band and the orchestra.
So my lovely friend won tickets through OhMyRockness (what a site) to see Primal Scream at Warsaw. So of course we went because it was like being handed $90 with tickets at $45 each. Hella sick! It was really fucking fun. It felt like a different decade–the people there and the music. They opened with Movin On Up and goddamn it was a party.
Hi San Francisco friends . . . this is for you. I know you miss home because we have the best home so of course you miss it. I miss it. Moby Grape is lovely, and this song is lovely. I think it sounds (weirdly) like love, and it’s the closest I’ve ever gotten to hearing a “San Francisco sound.” Moby Grape did have deep SF roots with members of Jefferson Airplane and the Frantics in their ranks. They’re one of the greatest tragedies of the 60s, who knows what they could have become if they’d held out 10 years longer.
But anyways, listen. It’s a lovely fall day where I am in Washington, Connecticut. Orange leaves and apple farms aren’t very West Coast or SF-esque, but somehow this song is still the perfect soundtrack.
To love you would be so good To keep you would be so wonderful Here is my heart that I give It’s all that I have
Please change your mind Before my sunshine is gone Do you think you can try? Do you think you can try? Do you think you can try?
I saw the Growlers at Webster Hall two Fridays ago. It was a great show. So surfy so groovy. They played essentially everything I wanted to hear except for Love Test, but that’s okay. You can’t have it all. The show was a real party, dancing, smoking, drinking etc. Different vibe and crowd than I’m used to at my weird punk rock emo shows.
Webster Hall is really just okay–too big but not bad at all.
It was also their album release show so they played some new stuff which was super cool.
^Can you really consider this a review? Probably not but listen to some Growlers!
A truly great song. I rarely appreciate Wings, but I always love this song. I feel like any true Paul fan has to occasionally listen to his non-Beatles stuff right?
My lovely, old car only takes CDs. No aux cable, no tape deck that could become an aux cable, no fancy satellite radio. I drive quite a lot, and so I know the CDs that are in my car extremely well. I have Neutral Milk, Wilco, Joni Mitchell, LOTS of Dylan, some Clash, and, of course, the Velvet Underground’s self titled album. This song never fails to surprise me at the end of the album even though I, of course, know it’s coming. In fact I wait for it with excited anticipation. Enjoy it before bed. It always makes me smile, and I hope it does the same for you.
Conceivably my all time favorite song. Seriously. I only wish it was like 3 minutes longer.
I got Don McCullin’s A Day in the Life of the Beatles photo book today for an excellent price at Green Apple (the best bookstore in San Francisco). So I thought I ought to post some Beatles.
This song rang so true to me when I had to break up with my exboyfriend, and I listened to it nonstop. It’s so nice when you’re dealing with weird, complicated, difficult feelings to know Sir Paul gets it.
You’re thinking of me, the same old way You were above me, but not today The only difference is you’re down there I’m looking through you, and you’re nowhere
Why, tell me why, did you not treat me right? Love has a nasty habit of disappearing overnight
I’m looking through you, where did you go I thought I knew you, what did I know You don’t look different, but you have changed I’m looking through you, you’re not the same
Yeah Oh baby I’m changed Ah I’m looking through you Yeah I’m looking through you
I love Wilco so dearly, and this song makes me happy.
I left you behind I know its been along time, but I’m not over you Don’t forget the flowers someday, I hope I do You’re tryin’ my patience, try pink carnations, red roses and yellow daffodils Don’t forget the flowers someday I know I will Don’t forget the flowers someday, I know I will
Reading the lyrics I realized it’s actually kinda sad.
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