Oh, my sweet lord. Melting. My dear friends are at it again. Just day dreaming right now of a dual-action show with Andrew Thiboldeaux (everything that is not drums) and Chris Ward (drums) playing a with full steam. Oh, wait. It’s gonna happen.
This track has been on KCRW’s constant rotation for months but I’m just getting around to the album now. No surprise — I love it! I’m just a huge sucker for Justin Vernon’s layered melodies and vocals. I could drown in this stuff.
We saw Mike Doughty play an entire show of Soul Coughing material last night at the Fonda. He sounded great and it was so much fun to hear those songs again. True Dreams of Wichita has always been one of my favorites.
I don’t totally get the lyrics to this song, but I love it. It ain’t Hemingway, but it crushes me when he sings “i’m sorry i’m really sorry i really am.” That’s all I really need to understand about this story.
Natalie Maines doesn’t hesitate to make audacious moves, and wresting away “Mother” — Roger Waters’ hymn to oppressive maternal authority figures from Pink Floyd — is the biggest one on her first solo album. Maines takes the “Mother” from Pink Floyd’s The Wall and deconstructs it, emotional brick by emotional brick. She rebuilds the melody and radically alters the vocal intonation of the lyric to render it resilient enough for new interpretations. “Mother” becomes a plea for understanding; to come to terms with difficult relationships through love and trust. Which, among other things, could be heard as Maines’ attempt to reach out to Dixie Chick fans, both present and former, loyal and hostile.