The Transfiguration of Tillman: Ramblings by Al James the Unfazed

Al James. What can I say about this man? Everyone on the Portland scene or of like-mind are huge fans of his indie-folk-rock melancholic meditations.

Last year, his band, Dolorean, released an album, The Unfazed, which received a lot of praise in the music mags and blogs; however, for some strange and unknown reason, I didn’t. And, for that reason, I have brought a lot of shame upon Common Folk Music’s head — namely, mine. So, to rectify this gross mistake, I asked Al to write CFM’s next installment of “Songwriter’s Point of View”. After all, I do love The Unfazed. I’m listening to it right now as I type completely baffled as to the reasons why I didn’t write something about it because it is a terrific album. But, I guess it doesn’t matter now because it’s time to read Al’s musings on a beloved indie-folk eccentric and his controversial album…Well, let’s just say, Father John Misty’s Fear Fun, was just that for Al.

Rather than attempt to pick apart an album from the past, turn back the emotional and analytical clock in my mind and write about it from a songwriter’s point of view (obvious choices for this exercise would be anything by the Great Michael Hurley, Damien Jurado’s Waters Ave S, Gene Clark’s No Other, Richard Buckner’s Devotion + Doubt or Dennis Wilson’s masterwork Pacific Ocean Blue) I feel compelled to write about the one album that I have been wrestling with, obsessing over, sobbing to, drinking alongside and fucking to for the last six months – Father John Misty’s Fear Fun.

Longtime friend Josh Tillman sent me his latest album Fear Fun as a download link in November of last year and my love was immediate. I fell hard for Misty from the glorious opening chorus of the first track “Funtimes In Babylon”.

“Funtimes In Babylon”

“I would like to abuse my lungs. Smoke everything in sight with every girl I’ve ever loved. Ride around the wreckage on horse knee-deep in blood. Look out Hollywood here I come.”

Unbelievable. The first line again. “I would like to abuse my lungs. Smoke everything in sight with every girl I’ve ever loved.” That’s the entire human experience (at least mine) in one couplet — self-hatred, self-indulgence, lack of self-control, everlasting love of all past and future lovers, self-exploration of the infinite through drugs and other substances, impending death. It’s all there.

If you’ve been reading all the music rags/blogs/tweets, you’ve heard Misty’s story — bored with drumming as an uber-successful Fleet Fox he moves down to L.A. to drug it up alone in the Canyon in hopes of discovering new levels of creativity, humor, sex, enlightenment, wordplay, etc…and, gawdammit, he pulls it off beautifully. His past as a suicidal, breathy balladeer (It should be noted that I am still a fan of his older work as J. Tillman) disappears in a flash of light and JT2.0 emerges as Father Fucking John Misty, the heir apparent to the scuzzy songwriting crew that was lurking around Los Angeles in the early 70s (Nilsson, Waits, Newman, Wainwright, Young, Crosby, Cooder). Sorry, (insert your fave contemporary L.A. country rock band or gentle West Coast hippie songwriter) but Misty’s view of the City of Angels is one that no one else has been able to nail for decades — the heartbreak AND the humor, the sadness AND the joy, the love AND the depravity, the chaos AND the solitude. Fear Fun is chock-full of sly grace, genuine bravado and naked honesty — three things sorely missed in contemporary songwriting (of which I, as a songwriter am guilty of).

More than anything, Fear Fun documents a personality crisis solved — a break from an old way of living/doing/dying and the discovery of a new singing voice, new lyrical vocabulary and utter freedom from expectations. This is why almost every other songwriter that I know is horrified by this album. It is what every songwriter hopes for, but is scared shitless to attempt. (Damien Jurado being the only exception. He has been reborn in a different way than Misty, but has undergone complete transfiguration as an artist nonetheless). For me, Fear Fun isn’t only about great songwriting (It’s obvious Misty is in complete control of his writing and album production/song arrangements). Its importance to me is simply in its existence, in Misty’s existence. It’s the rebirth that matters to me as a songwriter. How do you make the leap? How do you re-wire a heart and an ego? How do you look at financial success and pre-existing band cred in spades and put a fucking bullet in its head? How do you kill a name? Kill yourself as an artist?

If it’s becoming apparent that Fear Fun means a lot to me, well it does. On New Year’s Eve Day I sent Misty and a few other friends a new song written on a $200 Champagne binge captured on a crumby garage band session – “What Could You Do?”.

Is the song any good? Who cares? Doesn’t matter. What’s the point? Fear Fun has changed the way I make decisions, the risks I take, the honesty with which I write and you can’t ask for anymore than this in an album.

But what about Misty’s twitter account? His interviews? His stage banter, Sammy Davis Jr. inspired Japanese whiskey adverts and appearance on Letterman?

I love them, but they don’t mean shit. Fear Fun is all that matters to me right now.

Dolorean: Website; Facebook; Twitter
Father John Misty: Website; Facebook; Twitter
Purchase Fear Fun

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Nelsonville Music Festival

The Nelsonville Music Festival is a relative newcomer in the festival scene. It began in 2005 as a single-day event in downtown Nelsonville, Ohio and is organized by Stuart’s Opera House. In 2010, the event expanded to three days. This year’s festival was well curated with a focus on indie folk and alternative country, genres which fit well with the rolling hills and the small rough-hewn cabins that make up Robin’s Crossing.

My wife and I have been trying to hit one good festival a year and chose this one because we really wanted to see Shovels and Rope. Nelsonville seemed to be one of the few big events that they were scheduled for this year, plus it had the added bonus of the Dawes and Iron & Wine.

Unfortunately, we were not able to make it for the Thursday night kickoff event which featured Southeast Engine who released a very fine album called Canary last year. We also missed Those Darlins which about broke my heart but I started a new job last week and taking my first Friday off didn’t seem like the best way to make a good impression. Anyway, here’s a quick summary of the shows I did catch.

Iron & Wine. We rolled into town just as Iron & Wine was getting started. Sam Beam is a great songwriter… one of the best of his generation. He has a great voice and is a darn fine guitar player. But a rock star he is not. His new band sounded something like the Range a la Bruce Hornsby and the Range. They weren’t bad musicians, just a really bad fit. They amplified all of his weaknesses and drowned out all of his strengths. People were respectful — he is Sam Beam after all — but looking at Twitter afterwards, I don’t think I was the only one left feeling a bit underwhelmed.

Hunnabee and the Sandy Tar Boys. This was one of the first bands we saw Saturday morning. A group of five young bluegrass players out of Athens, Ohio that had the best group harmonies of the weekend. Good energy too. Look for a review of their self released album sometime soon here.

Jordan O’ Jordan. Jordan O’ Jordan was the first artist I got to see in the No-Fi Cabin venue, a 10′ x 14′ structure with just a handful of benches for seating. All No-Fi Cabin performers had to do their show without any sound support. What they lacked in volume, however, the performers made up with intimacy and sweetness. I was immediately taken in by Jordan’s storytelling and melodies. His music exists somewhere between the Decemberists and early Of Montreal when Of Montreal used to be a folk band.

Todd Burge. Todd Burge may look like a normal straight-laced gentlemen but when he starts singing, his underlying mischief immediately becomes apparent. He sang a series of songs about Harry Camping, the nutjob who said the world was going to end last year. This was another No-Fi Cabin show and Burge benefitted from the venue’s opportunity to engage with the small crowd by telling some of the song’s background stories.

Michael Hurley. Dude’s a legend but at 70 years old, you can’t expect him to rock out. Amazingly, though, he can still hit those high notes just like he could in the 60′s. On the downside, however, he didn’t do too much old stuff. You could feel the respect for this guy from the audience, which seemed to surprise Hurley. At one point, he said something like, “If you like listening me to so much, you should come to Portland. I play for hours.” Well, if he wears out his welcome in Portland, there seemed to plenty of Ohio folks who would gladly offer their spare bedroom.

Shovels & Rope. As I mentioned earlier, this is why we chose to come to Nelsonville. They’ve got to be one of the best kept secrets of the alternative country music scene. Composed of Cary Ann Hearst and Michael Trent, they recently changed their name to “Shovels and Rope” and have been touring relentlessly for the past couple of years. They’re absolutely phenomenal, the real deal, etc. Why they’re not as big as Mumford and Sons, Avett Brothers, or Fleet Foxes is one of those mysteries that makes me think I’m pretty out of touch with the rest of the world. Anyway, their last album (Shovels & Rope) came out in 2008 and got very little attention. Subsequent to that, they released an EP under Cary Ann Hearst’s name and one of the songs (Hells Bells) was featured in True Blood… the closest they’ve gotten to getting any mainstream attention. At Nelsonville, they were the only band that got to perform at all three venues and each show was fantastic. I can’t remember the last time I saw people have so much fun on stage and rock so hard. Cary Ann Hearst is full of southern charm and monkey business. Michael Trent is her straight man who can stick right with her as she tears the house down. They have a new album coming out July 31 called O’ Be Joyful. Definitely look for a review here. Some of the new stuff they were playing sounded at least as great as their earlier songs so watch out.

Andrew Bird. To be honest, the best part about seeing Andrew Bird was his soundcheck at 10:00 a.m. Saturday morning where he was just fiddling around (both figuratively and literally) and singing snippets of songs, including a verse or two of the Handsome Family’s Too Much Wine. His Saturday night show was good too but by then, I was feeling old and tired.

Matt Bauer. Matt did a great set in the No-Fi Cabin. Unfortunately the main stage act was incredibly load and came close to overpowering Matt’s quiet playing but he never got distracted, lost his rhythm, or missed a note. Dude was like a rock. He did a great cover of the old Pretty Little Horses song and a mix of older and newer originals. Poplar Trees sounded particularly good.

Hayes Carll. When you’re at a festival, sometimes it’s just musical overload. You try to fold the time space continuum so you can see it all but eventually you have to attend to your bodily needs. As I was wondering around trying to take care of some of the necessities, I gave up seeing Hayes Carll. Luckily, though, he was at the main stage so even from a half mile away, I could hear him doing Another Like You, which sounded great.

The Tillers. Never heard of them until I saw them. Three guys who can bluegrass with the best of ‘em. They shared one mic and sang about broken hearts and whiskey, mixing up traditional numbers with originals. Definitely a band I’ll come back to.

Hope for a Goldensummer. Another band I never heard of until I showed up at Nelsonville and looked at the schedule. Two sisters and a banjo player. Hell, what more do you need? Did I mention the banjo player occasionally used a violin bow? And it sounded good? It’s true. They also had beautiful harmonies that can only happen because of shared genes, funny between song banter and an accapella song where they kept time by doing a Miss Mary Mack-style clapping game, a spectacle which nearly made me lose my mind. I’m beginning to think that some people have brains divided into four sections and not two like the rest of us mortals.

Horse Feathers. I caught a few songs by Horse Feathers. They were going on about 30 minutes before the Dawes were starting so I didn’t stick around too long. They struck me as amazing musicians who can put on a heck of show. I was a bit worried because sometimes strings don’t work out well in a live setting. Either they seem too stiff and formal or they’re too subdued. Not so with the Horse Feathers. The three strings players gave it just the right amount of kick to keep the show hopping.

Dawes. Well shit. There’s not much I can say about the Dawes without sounding like an evangelical nutjob myself. I highly doubt that there’s a better live band right now. This is the third time I’ve seen them and each show has been one of the most memorable days of my whole year. If you like their albums, I would recommend you do whatever it takes to get your hiney in front of them because as good as their records are, they pale in comparison to the live experience.

And then we drove home and I went to work a few hours later. All-in-all, a great weekend at a well run event, a fact that was evidenced by the large number of musicians who mentioned on stage about how well they were treated. My experience as a concert goer was similar: the volunteers were helpful and kept the place looking good. April is promising to attend next year so keep your eye out for a Common Folk Music booth!

P.S. Happy Birthday Common Folk Music!

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Songwriter’s Point of View: John Statz Discusses the Influence of Jacksonville City Nights

I started the “Songwriter’s Point of View” segment with the intention of posting a contributing piece from a songwriter I respect and admire every month, but things haven’t been working out that way, so I’m going to post as I have always posted, as they come in trickling into my inbox. So, after asking singer-songwriter John Statz to write about his favorite album from a songwriter’s point of view, he promptly did so, and I’m extremely thankful.

Now, if you’re not familiar with John, get familiar. He’s a class-act who creates and writes truly amazing songs which he showcases on stellar albums like Ghost Towns and Old Fashioned. John has been influenced by an album from one of the most prolific and influential songwriters of the twenty-first century, Jacksonville City Nights from Ryan Adams & The Cardinals. This album put Americana, roots, and alt-country on John’s GPS setting him on a course that represents these genres as well as Ryan Adams.

My favorite album. Of all time. Man, that is an intimidating pick to have to make, and probably difficult to write about, right?

Actually, no. For me, it wasn’t. I had to think about it for all of a few seconds before I realized, yea, my favorite album of all time has to be Ryan Adams & The Cardinals - Jacksonville City Nights. This album changed my life and musical direction when it first came out in 2005. I was in college, and while I had already been well-introduced to Ryan Adams, I was going through more of a jamband/festival phase. You know, the kind many college kids that like to party and camp out in Tennessee farm fields go through. So Jacksonville City Nights was like a breath of fresh air, and man did it wake me up. Of course I had long been into singer/songwriters, and was already writing and recording some of my early songs, but I was not at all into Country (even though I grew up with my Dad listening to quite a bit of it), couldn’t have said what Americana was, and had a vague understanding of “Alt-Country”. This is the album that pulled back the veil on all of that for me, and probably helped send my songwriting into a more Americana-based direction.

Now, like most Ryan Adams fans, I love most of what he has done but have some issues mostly pertaining to his vast output. Ok, III/IV was a total stinker, Rock N Roll was…interesting, Gold was great but super commercial-sounding. His albums with The Cardinals were, to me, his greatest. That outfit just clicked. The harmonies are perfect, I love the tasteful playing on every instrument, and when I saw them live they blew me away. I’ve never seen a full rock band with the kind of dynamic control that Ryan Adams & The Cardinals had live when I saw them in Milwaukee. They could get so quiet that the crowd could easily have talked over them, except that the crowd was silent. That is impressive, most band just play loud.

Anyways, in my opinion, JCN is the best of The Cardinals material. Every song on the record does something for me. Some, like “Dear John” or “September” are insert-and-twist heart-breakers, others like “A Kiss Before I Go” and “My Heart Is Broken” are just classic, fun country songs. And I never understood why “The Hardest Part” wasn’t a hit, that song is a sing-along catcy-as-all-get-out train-beat drummed masterpiece. I have to go back to “Dear John” for a moment, too. Seriously, has a more heart-wrenching duet between two pop icons ever been recorded? One thing I love most about that tune is that Ryan actually sings the higher vocal parts, soaring over Norah Jones’ sultry lines. Yep, guaranteed chest-tightening, tear-jerking bliss. I don’t know anybody else who sings quite as freely as Ryan Adams, which I love. Momentarily out of tune notes, voice cracks, and spoken sentences are all kosher as long as they are sung with wild, emotional abandon. I even love the cover of the album, which looks totally classic with that font, the list of songs on the front, the label stamp in the upper-left, and that broken red-tinted image is gorgeous.

My final reason for this being my favorite album of all-time: it is my go-to sing-along album when I’m on the road, especially if I’m driving through western Nebraska, eastern Colorado, or somewhere else equally boring. JCN always lifts my mood and gets me wailing along with the car stereo at the top of my lungs.

My only reluctance in picking this album would be that some might view Ryan Adams as a “cliche” Americana pick due to his popularity. But that was kind of the point for me. He, and this album in particular, were my introduction to the wonderful wide world of Americana, Roots, and Alt-Country. Jacksonville City Nights set me on my way.

John Statz: Website; Bandcamp; Facebook; Twitter
Ryan Adams: Website; Facebook; Twitter
Purchase Jacksonville City Nights

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Paul Stewart – Permanence EP

I’ve been listening to Vancouver based Paul Stewart’s EP,  Permanence for months now. Actually, it has spent a considerable amount of time in my car stereo during those months, but, today, it quietly speaks volumes to me. There isn’t a bad track on this short five-song collection and each strangely comforts my usually melancholy soul.

I wouldn’t consider  Permanence your usual, run-of-the-mill Sad Bastard collection; instead, I personally think of it as a list of “That Poor Bastard” songs. And, Paul honestly describes his music as “Defeatist Folk”, which might seem a bit depressing to some listeners, if not most, but I have always had this uncanny ability to find beauty in the vulnerability created in the dark places of sadness. Though I find this beautiful in other people, I personally try not to show my vulnerability which may be why I find comfort in others expressing it, especially through music.

So, okay, back to this “Defeatist Folk” thing. According to The American Heritage Dictionary, “defeatism” is the “Acceptance of or resignation to the prospect of defeat”; therefore, a defeatist is a person who accepts defeat. I’ve never been one to accept defeat, but in some situations and circumstances it has to be done, and in some twisted way it can be freeing. For instance, the first track “Glass Skull” feels like a song I could have written that is, if I could write songs. Once I make myself vulnerable, my skull usually becomes glass divulging my doubts, feelings and personal thoughts so there is no hiding them because they’ll eventually come out in the end. I relate to the emotion of “Glass Skull” because it describes the frailty I feel in a personal relationship that will more than likely end up shattering my mind and heart. It’s the kind of song I would play while driving off in the sunset running away from the hurt while accepting that there can be freedom after the defeat which can be heard in the ending piano solo.

In “Outpatient”, the disdain and defeat in Paul’s voice can clearly be heard over the stark and sadly picked guitar lines. Yet, this is another song I can relate to. While listening to “Outpatient”, I feel a shared dissatisfaction with life and a touch of mental illness with Paul. I guess at one point in everyone’s life they have felt the same. You may have even questioned your own mental stability too. I don’t know, but there seems to be a small glimmer of hope contained in Paul’s lyrics when he sings, “And I’d free myself from this trap without gnawing off my arms.” However, the hope dims in the line “but, I’m holding these ghostly bars, and it’s still not clear what side I’m on.” I can’t help but think that there is something still holding him back – something that keeps him from experience complete freedom. And, yes, I feel this way too at times. I’m desperately trying to find ways to free myself from this mental prison, but some of my thoughts just won’t allow me the freedom to feel completely happy.

Finally, the last song, “Crowd Cocoon”, is ominous and lonely. I can’t help but think that Paul is trying to explain that after experiencing a profound defeat, the soul dies and a person can withdraw inside of themselves, or, in this case, a “cocoon”. Then, there are others who prefer to surround themselves with people and strangers to hide their dead soul. But, as a damaged Introvert who is sometimes crippled by this personality trait, I tend to shape lyrics such as, “Your soul was left inside of your cocoon. A dead person’s soul inside of you…the crowd just gathers round, it’s hard to place my heart when every stranger plays their part”, to fit my life’s experience. I, with my trust issues and my tendency to withdraw inside of myself when defeated, I will use that time of isolation to come up with a plan, rethink the situation or relationship then realize I can’t keep going down this path or following someone who is causing the pain. Which, again, I have shaped Paul’s words, “And, I can no longer follow you or see your changes through” to fit my situation. I realize that lyrics and these particular lyrics can be shifted and shaped to form each person’s current situation, relationship, or circumstance, and that is what makes music so powerful. Music is an emotional and relatable art form that can be translated and interpreted by individuals to comfort, inspire and reflect. Paul Stewart’s lyrics and music on Permanence are abstract enough to allow the listener to feel and relate to every word and note. He also beautifully creates a glint of hope in the darkness of defeat.

Stream & Buy Permanence
Paul Stewart: Facebook

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Joan Shelley – Ginko

I don’t know where or how to begin to review or describe Joan Shelley’s new album and Ol’ Kentuck debut, Ginko. But, I can say this, it stopped me dead in my tracks the first time I heard it. Produced by Daniel Martin Moore,  Ginko is a brilliant example of beauty that moves elegantly between light and dark. Featuring a laundry list of impressive musicians which includes Ben Sollee, Cheyenne Marie Mize, Nathan Salsburg, and Daniel Joseph Dorff, the instrumentation dances, skips, and tiptoes around Joan’s distinctively dulcet voice allowing both her and her exceptional songwriting to shine and captivate. With very little being said, Ginko has left me speechless. It’s an album that truly needs to be heard to understand my inability to express its many stunning qualities. So, in closing I found this quote from Heinrich Heine that best fits my thoughts on this particular album, “When words leave off, music begins.”

Stream & Purchase Ginko
Joan Shelley: Website; Facebook; Twitter

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