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Straight to Video
Rock Art Rock
The Decemberists
September 19, 2009
Terminal 5, New York, NY
By Amanda Hatfield "The Decemberists played a special one night 'lottery show,' where the songs played were picked at random by a master of ceremonies, played by John Wesley Harding..."
Ra Ra Riot
April 4, 2009
Webster Hall, New York City, NY
By Amanda Hatfield "This show was, at the time, the biggest one Ra Ra Riot had sold out as headliners, and it was clear to me after watching it that the band is destined for even bigger and better things..."
Florence and the Machine
October 28, 2009
Bowery Ballroom, New York City, NY
By Amanda Hatfield "Florence Welsh and her backing band delighted and mesmerized a sold-out crowd at Bowery in her first official NY headlining show..."
Dirty Projectors
July 19, 2009
Williamsburg Waterfront (Brooklyn, NY)
By Amanda Hatfield "I was skeptical about how well Dirty Projectors' gorgeous, complex vocal harmonies would carry over outdoors, standing under hot sunshine..."
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Search results for: sometimes i wish we were an eagle
Bill Callahan
Bill Callahan
Sometimes I Wish We Were an Eagle
(Drag City, 2009)
There comes a time in many people’s lives when they have to put a stake in the ground for how they’ll choose to move forward on the matter of faith, one way or the other. For Bill Callahan (also known as Smog and (Smog)), the time has come. He closes out Sometimes I Wish We Were an Eagle, his 13th record and second under his birth-given name, with a long song about the end of his faith in God. When he sings “It’s time to put God away / I put God away,” it’s hard to know how to take it exactly, especially depending on how the listener feels about the topic. But it is Callahan’s way of saying there’s nothing more to discuss about it really, but here’s a 10-minute musical ode to the done deed anyway.
But the disconcerting thing about “Faith/Void” and his sentiment is his inclusion of forsaking lines like “Damning the children / Making the ill just a little more sick.” It’s a “wait a minute” moment with the very power to re-open the whole God debate. Namely, if he no longer believes in God, he probably shouldn’t blame God for the atrocities of the world anymore either. I would imagine he’d have to just rid himself of that line of thinking altogether so that this reasoning would cease to exist. It would be a more believable atheist ode if he reconciled that there’s no divine meaning behind life as he knows it, which he never does here. In fact, he only puts God away, tucked inside some drawer of his mind, filed under “denounced.” When Callahan sings, “This is the end of faith / No more must I strive / To find my peace in the lie,” it sounds like a mantra—as does much of the song, which repeats groupings of words—a tool used in a quest for some form of transformation. And it’s this sentiment that could easily be considered a statement of faith as even atheists choose to believe in something, even if it’s in himself or love or humanity.
Neal Casal
Neal Casal
Roots & Wings
(Fargo, 2009)
For a man who has spent the last four years playing with the notoriously unstable Ryan Adams, Neal Casal cuts a surprisingly balanced figure on Roots & Wings. The guitarist and vocalist, who is a key member of Ryan Adams’ group, the Cardinals, has finally released his first set of all new material since 2006’s No Wish to Reminisce. The singer-songwriter crafts a soothing, breezy release, driven by acoustic guitars, sweeping melodies, and Casal’s warm, smooth tenor. With this impressive effort, and the impending dissolution of the Cardinals, Casal, who has been professionally toiling in rock music since the early ‘90s, finally seems set to step out of the considerable shadow of Adams.
The disc opens with “The Losing End Again”, which typifies Casal’s ability to effortlessly create catchy, major key melodies with a touch of melancholy. Like most of the album’s 16 songs, it clocks in at around the four-minute mark and recalls a “Peaceful Easy Feeling”-era Eagles feel. Though it is certainly lighter and less dramatic than most of the recent music that he has worked on with Adams, the country-tinged number wouldn’t seem altogether out of place on the Cardinals’ Lost Highway releases Easy Tiger (2007) and Cardinology (2008).
From there, Casal glides into “Back to Haunt You”, which, if it were the mid-’70s, would almost certainly be a favorite in rock radio. A mid-tempo number with an undeniable hook gives us our first taste of Casal’s tasteful, dynamic lead guitar playing. Anyone who has seen him play will gush about the guitar acrobatics he is capable of, but on Roots & Wings, he staunchly refuses to overplay, instead opting to serve up tasty little morsels of his virtuosity. Some great players let their chops interfere with the natural progression of their songs, but Casal knows that the leads should be there to highlight the song, not the other way around.
Somewhat ironically, despite their difference in temperament, Casal and Adams both share a need for an editor. While there is no such thing as too much good music, after 16 tracks of fairly straightforward alt-country, some of the material can start to bleed into each other. He may have been better off saving a couple tracks for subsequent releases, because, while I wouldn’t say that the album features “filler” songs, I would say that the middle of the album feels a touch uninspired.
That said, there are true standouts laced throughout the album, but sometimes you have to get through a few forgettable ones to get there. For example, the 12th track, “Superhighway”, is a stellar, emotive meditation, reminiscent of a long drive through the Southwest. Other highlights are the beautifully woebegone “So Far Astray” and “Cold Waves.” Casal leaves us with the haunting, pedal steel-kissed ballad, “Chasing Her Ghost.” In the tradition of the whiskey-soaked blues of solo Gram Parsons, Casal’s stirring piece finds the singer longingly emoting for a lost love. “Searching high and low / For someone to help carry the load… All of my life / I’ve been chasing her ghost.”
Due to Casal’s past work with Ryan Adams, Roots & Wings will be mostly investigated by die-hard fans of the Cardinals. If only Cardinals fans get into this disc, it will be a shame, because an album this good deserves a bigger audience. As an Adams fan myself, I can safely say that this is not the work of a man riding on coattails. Casal’s superb songwriting and powerful voice should guarantee him continuing success, regardless of whether Adams’ decision to disband the Cardinals remains permanent.
Listen: Various Tracks [at myspace.com]
Tags: Neal Casal, Ryan Adams, Roots and Wings, Fargo Records
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Carl Wilson: Tastes Are Composed of a Thousand Misunderstandings
33 1/3 is a series of books that each take one album, and examine it in exhaustive detail. The series to date tends to split the difference between older rock albums universally recognized for their brilliance—MC5’s Kick Out the Jams, the Band’s Music From Big Pink, Bob Dylan’s Highway 61 Revisited—and albums that any self-respecting college radio DJ has on vinyl—Guided By Voices’ Bee Thousand, DJ Shadow’s Entroducing…, the Replacements’ Let It
Be. So it came as a surprise that their latest offering was a look at Celine Dion’s Let’s Talk About Love. Even more surprising was that the book, Let’s Talk About Love: A Journey to the End of Taste, completely knocked me on my ass. Written by Carl Wilson, an editor and critic at The Globe and Mail in Toronto, the book uses the Canadian diva as a jumping off point to examine the idea of taste itself, shot through the prism of class and social belonging. Why do we like what we like? When we say we don’t like an artist (and nearly every self-respecting music nerd would say they don’t like Dion) what are we really saying? How much of what we like and dislike is bound up in our social class? The book is smart, moving, funny, and will have you questioning every aesthetic judgment you’ve ever made. You may even find yourself giving Celine Dion a listen. Wilson was kind enough to answer a few of my questions over email.
Crawdaddy!: Were there other artists besides Celine Dion that you considered for this project? Could you have examined, for instance, Kenny G, or is there something unique about her?
Carl Wilson: I considered some other artists—Kenny G is a good example, and I thought about the Eagles, for example, who have the best-selling album ever; while I was working on the book I came to think that the current most-reviled act, the equivalent of Celine’s stature earlier in the decade, is probably Nickelback, who are also Canadian and therefore a band that I take somewhat personally. I have to confess that I’m happy I didn’t have to spend a lot of time listening to Nickelback. But Celine presents some special qualities: everyone agrees that what she does is at a high level of musical accomplishment, for instance, no matter how much they dislike her, so that combination was striking to me; it raises a particular puzzle. (How can music be at once good and no good? What does the word “good” really mean?) As well, she is kind of in a genre of her own. Obviously there’s a whole adult-contemporary realm, but her version is especially intense and operatic, at the same time it’s in soft focus. Plus she brings this European pop influence that makes her extra confusing to a lot of North American rock listeners. Nickelback doesn’t do anything quite so exotic. In my friend Ann Powers’ phrase, they’re “bread and butter music,” and while Celine falls into that category, too, she brings a lot of other baggage that seemed worth springing open.
Mind vs. Gut: Built to Spill and Band of Horses
Many people think Band of Horses and Built to Spill have much in common, but to me they couldn’t sound more different. That’s because the bands call to mind different stages of my life. Built to Spill summon the marijuana-hooked, self-conscious, intellectually suspect little brat I once was, while Band of Horses speak to the (more) mature person I am now.
Don’t get it twisted; as I will show later, Built to Spill’s lyrics are more profound than Band of Horses’ by a long shot. But though Built to Spill helped shape who I am, I can barely stand to listen to their old albums for the same reason I don’t listen to those Led Zeppelin or Mötley Crüe records anymore—the nostalgia they evoke is practically crushing. Another reason I prefer Band of Horses to Built to Spill is that music with gut-level appeal is more important to me nowadays than music that appeals on a cerebral one.

Band of Horses: June 11th at Carnegie Hall and Bill Callahan: June 13th at Le Poisson Rouge, NYC
by: Ben Westhoff, Jessica Gentile
June 11th at Carnegie Hall, New York City
“The last place we played was just like this,” Ben Bridwell cheekily remarked during Band of Horses’ night out at Carnegie Hall. While the show at the renowned venue was billed as a one-of-a-kind acoustic show, in actuality it wasn’t completely acoustic—more like partially electric and undistorted.
But it was certainly an unusual set-up for a band that tends to imbue their woodsy rock with ample grit and reverb. For such a formal setting the band was surprisingly relaxed and laidback, which worked particularly well given the new stripped-down arrangements. The added accompaniment of banjo, violins, and harmonica lent their material a newfound twang and brought out the countrified edge that’s only been hinted at before. “Great Salt Lake” sounded majestic with its crescendoing orchestral grandeur. Meanwhile, “Weed Party” was sped up in jaunty double-time tempo, and “Wicked Gil” was dramatically slowed down to near un-recognition. Fitting in perfectly with the night’s music was a cover of Gram Parsons’ “A Song For You.” There were also a handful of new songs, including a starkly beautiful and still untitled song penned by Tyler Ramsey, and another harpsichord-laden song called “Compliments Down There.” After hearing them live, it’ll be interesting to see how they translate on record and if the acoustic direction is one that will carry over in the studio as the Horses prep their third full-length. After hearing the breezy beauty of the band last night, lord knows it certainly should. – Jessica Gentile
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by: Ben Westhoff, Jessica Gentile
published: June 16, 2009 in column: It Shows
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