Justin Trosper’s new (relatively speaking) band is Survival Knife. You can listen to “Divine Mob” — click the arrow above. The band also includes Brandt Sandeno formerly of Unwound, as well as Kris Cunningham and Meg Cunningham.
Live audio of the group’s first show, which took place March 29, 2012 at Eagles Hall in Olympia, Washington.
Body/Heat, Kim Gordon’s collaboration with guitarist Bill Nace, is currently streaming at Pitchfork. The album is called Coming Apart, an apt description of the music. Lots of noisy guitar experiments plus Gordon’s inimitable voice. Listen here.
Although I expect that much of what I post here will deal with music, I’ll also write about writing, especially related to the novel I completed earlier this year, “Days of the Crazy-Wild,” and a new one I’m currently at work on. I’ll also, on occasion, talk about books I’m reading, films I’ve seen, art and whatever else makes some kind of serious impression.
My first post, which went up yesterday and is about Bob Dylan’s Another Self Portrait, is the second music column I’ve written for the new Australian version of Addicted To Noise. I’m writing a monthly column for the new ATN.
I’ve also posted the first chapter of “Days of the Crazy-Wild,” and there’s a link to it next to the “About me” link near the top of this page. I hope you’ll read the chapter and let me know what you think. My hope is that it’ll pull you into the narrative dream, and as you read it you’ll feel like you’re experiencing what it was like on the West Coast back in the early ’70s when the counterculture and it’s ideas and ideals still seemed to be alive.
I’ll also sometimes post lists of what I’m currently into, and they’ll look like this:
1. Coming Apart, Body/Head (Matador).
2. “The Butler” (in theaters now).
3. “The God of Nightmares,” Paula Fox (W. W. Norton & Company).
4. The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You, Neko Case (Anti-).
5. The Isle of Wight recordings, Bob Dylan (Sony Legacy). Available as Mp3 downloads if you don’t want to buy the $100 Another Self-Portrait box set.
6. “Oh Come On, The Julie Ruin (TJR). Song and video.
Bob Dylan (re)paints a masterpiece for the 10th edition of his Bootleg Series
By Michael Goldberg
I misheard Bob Dylan back in 1970 as I lay back on the single bed in my room at my folks suburban home in Marin County and listened again and again to Dylan’s then-new and controversial album, Self Portrait, as it played on my shit Zenith portable stereo. There were no lyrics included with the album; no liner notes. Just a very long list of musicians who had played on it. Dylan sure wasn’t offering any help in figuring out what he was up to, but then had he ever?
Self Portrait seemed confusing at first, a two-record set dominated by covers of other people’s songs. Other people’s songs? What the goddamn was the man who had intellectualized rock songwriting doing singing “Blue Moon” and ‘The Boxer’ for God’s sake?
It’s fitting that I start this column with the word “I,” and that I’m telling you about myexperience, the experience of one middle class 17-year-old boy who was ignorant of the history behind many of the songs Dylan covered on Self Portrait.
I didn’t know B. Bryant, the writer of “Take Me As I Am (Or Let Me Go),” nor F. Bryant, who along with B. Bryant wrote “Take A Message To Mary,” (both songs included on Self Portrait) were famous Nashville songwriters Felice and Boudleaux Bryant, who wrote hits for the Everly Brothers, Roy Orbison, George Jones and many others. Or that “Little Sadie,” which Dylan claimed to have written, had been recorded almost 40 years earlier by Clarence Ashley. Hell, I’d not yet heard of Clarence Ashley. And who were the Lomax’s, who along with F. Warner, were credited with writing the gold rush ballad “Days of 49”?