Neko Case, “John Saw That Number”

And I got to see John’s arm and hand in Turkey, so it’s all good. (Try the album version if you’re not that impressed with the live one — but Neko Case is better live.)

Playing for Change, “Gimme Shelter”

I was rendered speechless when I saw this for the first time.

A live version of one of my very favoritest Shawn Colvin tracks, “Kill The Messenger”:

A two-fer today. First: Oh Susanna, “Tangled and Wild”

Second: “Alabaster”

Both of these songs featured in Hilary Birmingham’s 2000 film “Tully,” a striking independent production that shamefully few people saw. (Listen to Roger if you won’t believe me.) “Tangled and Wild” played over the closing credits, and while I’d been familiar with Suzie Ungerleider in the abstract (I’d seen her play at a couple of different Lillith Fairs ahead of this), “Tully” was the first time I’d ever really heard her music, if you know what I mean. And I knew I had to run out and buy the album.

“Johnstown,” the 1999 album from which both of these tracks were taken, was another one of those records that made me seriously reassess my music collection. It seemed, for a variety of reasons, like I should have had stacks of this kind of music, except I didn’t. It has this old, folkloric, ancestral quality to it, and I loved it to bits. (If this sounds familiar, it’s because I’ve talked about this several times before.) Like much really good music, it evokes a time and a place that probably only ever really existed — for those of us alive today — in sepia-toned photographs, dusty books, and odd little soundless movies about life at the turn of the last century; a world of cracked, sun-dried creekbeds, tall virgin prairie grass, hot winds whipping through the trees, and the cry of swallows in the distance.

I picture, for some reason, my grandparents homestead in Southern Alberta with this music.

Anyway, just listen to the music, listen to Suzie’s voice. It’s just mesmerizing.

Sara Quin: “A call for change“

When will misogynistic and homophobic ranting and raving result in meaningful repercussions in the entertainment industry? When will they be treated with the same seriousness as racist and anti-Semitic offenses? While an artist who can barely get a sentence fragment out without using homophobic slurs is celebrated on the cover of every magazine, blog and newspaper, I’m disheartened that any self-respecting human being could stand in support with a message so vile. …

If any of the bands whose records are held in similar esteem as Goblin had lyrics littered with rape fantasies and slurs, would they be labeled hate mongers? I realize I could ask that question of DOZENS of other artists, but is Tyler exempt because people are afraid of the backlash? The inevitable claim that detractors are being racist, or the brush-off that not “getting it” would indicate that you’re “old” (or a faggot)? Because, the more I think about it, the more I think people don’t actually want to go up against this particular bully because he’s popular. Who sticks up for women and gay people now? It seems entirely uncool to do so in the indie rock world, and I’ll argue that point with ANYONE.

I was blissfully unaware of Odd Future until last week, when Sady pointed at Sara’s article in her own masterpiece. Then I went and pulled a couple of their pieces off YouTube, and you know what? It wasn’t any good. Though I wasn’t in any way, shape or form particularly disposed to like them based on their — let’s call it what it is, fucking obnoxious behavior — I can’t say I found the music that interesting anyway. Maybe it’s because I’m old or uncool. Maybe I don’t get it. I dunno: I like to think I have pretty eclectic and diverse taste in music, but this was just… lame, somehow. That Tyler is a fuckhead doesn’t really enter into it, but it helps me feel better about apparently being uncool.

Wild Light, “California on my Mind”

I saw these guys open for The Killers back in 2009. I don’t get this song, but it sure is catchy. (“Fuck today, fuuuuck Oakland…”)