Best Of 2019
(strictly for fun and heated argument)
By Peter Jesperson
1. Phoebe Bridgers – Stranger In The Alps
Full disclosure: This, Phoebe Bridgers’ first album, was actually released in September of 2017. “So wtf’s it doing on your best of for 2019?” one might reasonably ask. Well, right around the time the album came out I’d heard a song from it (“Motion Sickness”) and I loved it. I mean, I really loved it. For some reason though I didn’t pick up the album that fall. I dunno, maybe I’d recently been burned by buying an album for one song, only to find it was the only good song on it. Anyway, I finally purchased Stranger In The Alps in January of 2019 and … YOWSA! (inarticulate cry of amazement) … I was so completely awestruck, it so dominated my listening and my thoughts, it had to be this year’s #1.
To my ears, there are three things that make this record the truly extraordinary experience it is - the writing, her voice, and the production.
First off, with this relentlessly melancholy collection of songs, the writing stands out largely because it’s strong but unorthodox. It goes in unexpected directions, lines don’t always have the same number of beats, rhyming isn’t a priority, and yet it all hangs together. A few months back I was corresponding with my longtime friend Andy Schwartz and I remarked that some people find the album depressing. His reply: “I can never be "depressed" by an expression of emotion and creativity that hits its target -- I can only be uplifted.” I concur.
Secondly, the very best singers literally use their voice as an instrument, and that certainly is the case here. Quoting lyrics doesn’t do them justice, you have to hear her sing the words to get the full effect. Phoebe’s artful use of emotion, timing and subtlety is remarkable. Always right on target without ever feeling overthought. She’s a master syllable-stretcher too. And with her vocal prowess, she pulls off a sly sleight of hand by making the lone cover, “You Missed My Heart” (by Mark Kozelek and Jimmy LaValle), appear as if it’s one she wrote.
Thirdly, production is something that we don’t always specifically hear but on this album it is a key component. It adds so much. Producers Tony Berg and Ethan Gruska transform Stranger In The Alps into something even greater than just the songs and singing alone would have made it. For instance, on “Smoke Signals” when Phoebe sings, “It’s been on my mind since Bowie died,” faintly in the background we hear the sound of something (a spaceship?) in motion, panning from left to right across the speakers. And were they thinking of Lynch’s Twin Peaks when they processed the bold guitar lines that precede her singing, “You must’ve been looking for me”? In other tracks, frequently unidentified instruments or noises seem to just wander in and out of the mix. A treated violin on “Funeral” doesn’t really play any sort of pattern, more like intermittent patches of colorful sound. And, on the vocals throughout, what must be purposefully slightly distorted esses are an interesting twist. Seek and ye shall find there are loads of sonic Easter eggs to discover. The album is a veritable feast of production, but again, never too much.
I honestly don’t know of a more formidable new musical talent on planet earth right now. I hope she can do it some more. Best listened to alone, with the lights down low. (https://www.phoebefuckingbridgers.com)
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And then there are Phoebe’s other most excellent projects: a 6-song 12-inch by boygenius, a singer-songwriter trio she formed with Julien Baker and Lucy Dacus. And a rockin’ LP by Better Oblivion Community Center, a band/collaboration she did with indie-rock stalwart, Conor Oberst.
(https://www.boygenius.com) (https://www.betteroblivioncommunitycenter.com)
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2. Bruce Springsteen – Western Stars
This is the first Bruce Springsteen album I’ve bought since Nebraska (1982). I loved his first six albums and the live shows that corresponded with them. Then, I lost the thread. His music stopped speaking to me. Maybe I just wasn’t paying attention but to me much of it became overly earnest and stilted.
Fast-forward to spring 2019. I’m driving along listening to the radio when an advance cut from Bruce’s new album comes on. It was “Hello Sunshine” and it grabbed me immediately. It sounded different from his other work. It had the feel of “Everybody’s Talkin’” by Harry Nilsson. When it was over I thought – goddamn, I’ll betcha even Bob Dylan would be envious of this song. The words hit me hard. Verse #2 in particular:
You know I always liked my walking shoes
But you can get a little too fond of the blues
You walk too far, you walk away
Hello sunshine, won’t you stay
It’s a song about depression and it’s as perfect a recording as I heard all year. The only thing I don’t like about it is when it starts to fade … I’m always sorry when the song is over.
Produced by Bruce and Ron Aniello, the sonic departure of “Hello Sunshine” follows through on the rest of the album. As one might guess from the album title, much of the lyrical imagery and sweeping string arrangements conjure the American southwest, and this sense of place permeates the proceedings. Though mainly recorded at Stone Hill Studio in New Jersey, there are also three LA-area locations listed, along with several west coast-based ace musicians, including Jon Brion and Greg Leisz. In the press, Bruce has mentioned Glen Campbell, Jimmy Webb, Burt Bacharach, and the pop music of ‘70s southern California as a big influence on the project. It’s a very laid-back affair and the songs are all “of a piece.” “Hitch Hikin’” is a truly classic album opener, a song about restlessness and hittin’ the road; “Tucson Train” has an exquisite arrangement and a chorus that makes you want to sing along; the vocals on “Sundown” and “There Goes My Miracle,” with their long, clear, held notes just knock me out (has he ever sung like this before?!); and then there’s “Stones” - another I’d rate as one of the best Bruce has written, breathtaking in its simple, crushing honesty:
I woke up this mornin with stones in my mouth
You said those were only the lies you’ve told me
And I just gotta say, man I love the way he sings throughout Western Stars. This record was one of my best companions in 2019, and another one that I especially liked to listen to when I was alone, with the lights down low.
Addendum: Since Bruce was not going to tour on this album, a performance was filmed in a barn on his farm in New Jersey. I loved the film and the soundtrack, which notably includes at least one performance that I think is better than the studio version (“The Wayfarer”), as well as a bonus track, a terrific rendition of Glen Campbell’s “Rhinestone Cowboy.”
Worth noting: the sound of the vinyl is spectacular and shout-outs are in order: Mastered by Bob Ludwig. Vinyl master cut by Chris Bellman at Bernie Grundman Mastering.
(http://www.brucespringsteen.com)
3. Peter Perrett – Humanworld
He does it again! After 2017’s astounding “comeback,” How The West Was Won, Peter Perrett (former front man of The Only Ones) delivers another record that is so strong I can barely believe my ears. He sure ain’t going gently into that good night – for the most part, this is a full-on rock ‘n’ roll record. He employed almost exactly the same group as the last time and they do zero fucking around, getting down to business right outta the gate, with “I Want Your Dreams” where Peter’s gift for songwriting with a sinister twist comes back into view. His trademark, off-color, plain-speak is also in play on “Once Is Enough,” which opens with a line I love, “I’ve got a friend who’s crazy as fuck …” ”Love Comes On Silent Feet” has a hint of “Mr. Soul.” The juxtaposition of “The Power Is In You” with “Believe In Nothing” is a sly sequencing move, bringing you up just to let you down. The rocker, “War Plan Red” – whoa! Another favorite is the loping “Walking In Berlin” with guitar lines that echo “And Your Bird Can Sing.” This time the production chores are quite ably handled by Peter’s oldest son, Jamie (who is also lead guitarist in the band and sings lead on the song “Master Of Destruction”). “Carousel,” is a beautiful closer that I was especially excited about as I had always loved a demo of it that had circulated several years back. Although Peter’s output hasn’t exactly been prolific (6 albums in 41 years), the high quality of his work is remarkably consistent, and Humanworld is no exception. How does he do it??!!
4. Taylor Swift - Lover
Album # 7 for Taylor. Back to more straight pop songs after her previous album’s partial foray into electro-pop. It’s both funny and sad to me that she experienced such a harsh backlash for the latter. Funny, in that both fans and people in the industry can be so fickle. Sad, that the great songs on that previous album weren’t as widely recognized as they deserve to be. Regardless, she’s delivered another powerhouse of a record. So many killer songs here but, if you only have time to check out one, I point to my personal favorite, a late-in-the-sequence track called “Afterglow,” which showcases her impeccable sense of timing and phrasing as a vocalist. If that gets your attention and you’d like another, try the introspective “The Archer,” or the addictive pop-rock confection, “Paper Rings.” As much as she talks about her audience having grown up with her, allowing her to write increasingly sophisticated material, she still occasionally writes with younger folks in mind, and I admire that. For instance, the clever and empowering lyric in the song “Me,” with its chorus of “I’m the only one of me/Baby that’s the fun of me/You’re the only one of you/Baby that’s the fun of you,” a simple sentiment that can actually apply to all demographics! We’ve also seen Taylor speaking out more recently and she sends a strong message in “You Need To Calm Down,” a song about some individuals who get up in arms over things that ain’t none of their business, containing the bang-on observation, “shade never made anybody less gay.” The poignant “Soon You’ll Get Better,” addressing her mother’s cancer battle, is sung gently but hits hard.
I do have one criticism though. There are no bad songs here but the album lacks cohesiveness. Taylor has always been generous when putting together her releases. The shortest one is her third, 2008’s Fearless, clocking in at 53:46 with 13 songs. There are 18 on Lover with a total running time of 61:51. Could it be she was a little too generous this time around? It’s funny, some people are surprised I like Taylor Swift so much. I’m surprised they don’t. (https://www.taylorswift.com)
5. Leslie Stevens – Sinner
I could write volumes about Los Angeles-based artist Leslie Stevens, and how much I love her voice, her words, and her music. This is her 5th album (counting three under the moniker Leslie & The Badgers). There’s a sophistication and depth to what she does that is a cut above most to my ears, and it comes through loud and clear with this latest outing. In particular, the title song, which might be the best she’s ever written, and is one of my most played tracks of the year. Sinner is notably produced by the great Jonathan Wilson (Jackson Browne, Father John Misty, Conor Oberst) and it is a sonic triumph. The cadre of musicians who accompany Leslie here are exceptional. Among them, genius LA keyboard man, Keefus Ciancia (who’s played with the likes of T Bone, Iggy, Elton and our mutual pal, Benji Hughes!); and drummer James Gadson (whose résumé includes Marvin Gaye, The Temptations, Freddie King, and Paul McCartney). (https://www.lesliestevensmusic.com)
6. Robert Forster – Inferno
Though I discovered Robert Forster and the seminal band he was co-leader of, The Go-Betweens, late in life, his music has so affected me I feel like I’ve known it forever. Now seven albums into a solo career, Robert Forster has become an elder statesman of rock (a journalist and author too). A highly intelligent, wonderfully odd man who knows his way around a lyric and a melody. He also has a charming, dry sort of wit. Inferno, so titled because of the increasingly hot summer weather in his hometown of Brisbane (Qld, Australia), is classic Forster – intelligent, thoughtful, sometimes silly – delivered in his signature, slightly awkward, manner. Recorded in Berlin with producer Victor Van Vugt, best known for his work with Nick Cave & The Bad Seeds.
(http://www.robertforster.net)
7. Leonard Cohen – Thanks For The Dance
Mostly spoken word tracks recorded during the sessions for Leonard’s final album, 2016’s You Want It Darker, completed by his son, Adam, and a group of admirers, including Beck and Bryce Dessner (The National). The added musical backing fits Leonard’s timing so well. A beautiful postscript.
(https://www.leonardcohen.com)
8. A.A. Bondy – Enderness
Hypnotic, dreamy, spooky, lyrically fascinating/bewildering, beautifully sung, synthey-keyboard heavy, canned drums. A very quiet album overall. Completely different from the folky (also brilliant) records we came to know Bondy for in the aughts. The solo live show featured voice and keys along with pre-recorded sections via laptop and simple, slowly changing backdrop projections that added so much to the show. It was riveting. One of the best albums/live shows I heard/saw all year.
(https://www.fatpossum.com/artists/a-a-bondy/)
9. Fontaines D.C. – Dogrel
When I first heard Fontaines D.C., I thought of two older favorites of mine: The Fall and Wire. Dozens of listens later, those comparisons still hold but it’s the band’s originality that stands out. This is exhilarating stuff, performed by a tight, blistering rock ‘n’ roll band, full of smart, provocative, talk-sung words. Worth noting that those words are written by the band members who actually studied poetry at a college in their hometown of Dublin. Their sense of humor shines through too. Full of great songs, like the rockin’ single “Boys In The Better Land,” but the one that put me over the top on this band and this record is the ballad, “Roy’s Tune.” According to the band, this song was meant to be “a moment of reflection” on the album. There’s a melancholy air to the opening chords that sends shivers up my spine every time. Highly, highly recommended.
(https://en.wikipedia.org/wiki/Fontaines_D.C.)
10. Tegan & Sara – Hey, I’m Just Like You
On paper, this seemed like a weird idea. Take a bunch of your very first teenage demos, tweak the writing a bit, and record them as your new album in 2019. Well, guess what? It worked brilliantly! A solid addition to an already stellar series of records.
11. Criminal Hygiene – Run It Again
An album that is so up my alley, it’s almost funny! Run It Again is a 10-song album that shines a fresh light on a raw sort of garage rock. Full of melody, smart lyrics and hooks for days. Recorded at Future Shock studio in LA, produced by Alex Newport (Death Cab For Cutie, Frank Turner, Bloc Party), there’s an artful flow to this collection of songs. The real strength of the record is in the writing. These songs are so solidly built, they sound better the more you listen. And it must be said - these guys really know how to sing. In particular, lead vocalist Michael Fiore seems able to effortlessly cram or stretch syllables at will.
(https://criminalhygiene.bandcamp.com)
12. Kacy & Clayton – Carrying On
Kacy Anderson and Clayton Linthicum are second cousins who hail from Wood Mountain, Saskatchewan. A traditional folk-rock duo who do both originals and covers with a modern, often electric, twist. Kacy’s voice is a stunner. Clayton is a magnificent guitarist (and keyboardist) who sings harmony and occasional lead. This is their 5th album and 2nd produced by Jeff Tweedy.
(http://www.kacyandclayton.com)
13. Lambchop – This (Is What I Wanted To Tell You)
I love Lambchop’s deliberately quiet, strangely soulful, subtly humorous music. Front man Kurt Wagner has taken a shine to the vocoder on the last couple of albums and it is present here, once again. Far out stuff.
(https://www.thisiswhatiwantedtotellyou.com)
Singles/EPs, etc.
Paul McCartney
“Get Enough” - digital only single
“Home Tonight”/”In A Hurry” - 2-song digital + Black Friday 7-inch single pic disc
(https://www.paulmccartney.com)
Phoebe Bridgers – “7 O’Clock News”/”Silent Night” – digital only single
(https://www.phoebefuckingbridgers.com)
Tristen – “Dream Within A Dream”/”Red Lava” – 7-inch single
“A Case Of You” (Joni Mitchell) – digital only single
Deck The Halls (reissue) – 4-song digital and 7-inch EP
Eisley – “I Won’t Cry” - digital only single
(https://www.youtube.com/watch?v=9a17sJFSSds)
Matt Berninger feat. Phoebe Bridgers
“Walking on a String” (2 versions, #2 Phoebe sings lead) – digital only single
(https://www.youtube.com/watch?v=9a17sJFSSds)
Ben Gibbard – “Me And Magdalena” (Ben Gibbard)/”The Concept” (Teenage Fanclub) – 7-inch single
(https://www.youtube.com/watch?v=fqnQ2_DjIX4)
Flamin’ Oh’s/ Robert Wilkinson – “Strange Times”/”Blue Valentine” - 7-inch single
(http://www.flaminohs.com/store)
Death Cab For Cutie – The Blue EP – 12-inch vinyl/CD/digital
(https://death-cab-for-cutie.lnk.to/BlueEP)
The Hold Steady – Four On Ten
This EP collects the remaining four terrific digital singles from the same sessions that made up much of the recent Hold Steady album Thrashing Thru The Passion. Released on limited edition (1,800 copies) 10-inch vinyl for Black Friday 2019. Dig the cover shot (of our Minneapolis record store Oar Folkjokeopus)! Thank you Gentlemen!!
(https://www.roughtrade.com/us/the-hold-steady/four-on-ten)
Reissues, Box Sets, Compilations
Mike McGear – McGear
A dream come true! Real name: Peter Michael McCartney. Originally released in 1974, this is a tuneful, smart, sometimes silly collaboration with brother Paul, and friends like Linda McCartney, Denny Laine, Lol Crème and Kevin Godley from 10cc, kid guitarist and soon-to-be Wings member Jimmy McCulloch, and drummer Gerry Conway. The box features the original album remastered (sounding better than ever), a full disc of bonus tracks (21 in all, 13 never-before-released), a 32-page booklet, a DVD of interviews with Mike and two fold-out, double-sided posters! I’ve said it before and I’ll say it again, this is one of my favorite albums of all-time. And, though it’s Mike’s album, it’s also arguably Paul’s finest hour, post-Fabs! (https://www.cherryred.co.uk/product/michael-mcgear-mcgear-2cd-1dvd-remastered-expanded-boxset-edition/)
David Bowie – myriad must-have reissues!
Spying Through A Keyhole (demos) – four 1968-era 7-inch singles box set
Clareville Grove Demos – three 1968-era demos 7-inch singles box set
Space Oddity (demos) two 1968-era 7-inch singles box set
The Mercury Demos – 10 1969-era demos LP
Conversation Piece box set – five CDs of demos from the 1968/’69-era + 120-page hard cover book, beautifully packaged.
Note: the Conversation Piece box contains all the tracks from the four sets listed above, along with 12 unreleased demos + Tony Visconti’s 2019 remix of the ‘Space Oddity’ album (which just might be better than the original mix). There are song titles here I’d never even heard of before … some of the most exciting, newly discovered, Bowie tracks in years!
The Beatles - Abbey Road 50th Anniversary box set
The band’s last album gets the Giles Martin remix treatment. As always, beautifully and tastefully done. We played it constantly all fall. One of my favorite utterances on a record released in 2019 is, during some studio talk-back with George Martin before a take of “I Want You,” hearing John Lennon announce to the producer, “My boys are ready to go!”
Bob Dylan – Travelin’ Thru, 1967 – 1969 – The Bootleg Series - Volume 15
Nashville outtakes from John Wesley Harding, Nashville Skyline, and Self Portrait, including TV performances with Johnny Cash and Earl Scruggs.
Having seven outtakes from JWH is a thrill (including an outtake of “All Along The Watchtower”!). The rehearsals with Johnny Cash are a fly-on-the-wall dream.
Bob Dylan – The Rolling Thunder Revue – The 1975 Live Recordings
Five complete Rolling Thunder shows + rehearsals and rarities. The live versions of “Isis” and “A Hard Rain’s A-Gonna Fall” are scary-good.
The Replacements - Dead Man’s Pop box set
The centerpiece of this set is the original Don’t Tell A Soul album mix ‘corrected’ in 2019 by original producer Matt Wallace, and it kinda changes everything. Don’t Tell A Soul will always be the 8th best Replacements record for me but this mix goes a long way to making me appreciate much of it in a way I never had before. The bonus tracks are pretty great too – some repeats from the 2008 CD reissues, some recently discovered (though I will say the Tom Waits sessions are really cool to hear once but aren’t likely to be something I’ll go back to very often). The real bonus here to me is the live show from Milwaukee in 1989, which featured then-new lead guitarist Bob “Slim” Dunlap. Much as the Bob Stinson era Replacements will always be nearest and dearest to my heart, I think this performance is superior overall to the 2017 Live At Maxwell’s release. The band just sounds more committed, like they’re really going for it! Plus it’s a gas to hear Slim do his thang! And the classy packaging, liner notes, and unseen photos are all fantastic. Expertly produced by Trouble Boys author Bob Mehr and Rhino’s Jason Jones.
(https://www.rhino.com/article/the-replacements-dead-mans-pop)
The Go-Betweens – G Stands For Go-Betweens Vol. 2 box set
The stupendous, beyond brilliant, and super-fun Go-Betweens made nine albums between 1981 and 2005. Band founder/co-leader Robert Forster has teamed up with arguably the best record label on the planet (Domino Records) to document the band’s career. Begun in 2015, they are releasing three box sets, each focusing on three of their albums. Vol. 2 covers the albums Liberty Belle and the Black Diamond Express (1986), Tallulah (1987), and 16 Lovers Lane (1988). This set contains the three remastered LPs, an unreleased double live album, five CDs of rare and unreleased tracks, and an insanely detailed 112-page book, full of photos, memorabilia and extensive liner notes. Can’t wait for Vol. 3!
(https://www.dominomusic.com/artists/the-go-betweens)
Harry Nilsson – Losst And Founnd
A collection of Harry’s last demos, dressed up here 25 years later by producer Mark Hudson, Harry’s son Kiefo, and a gaggle of former associates, like Jimmy Webb, Van Dyke Parks, Jim Keltner and Klaus Voorman. One artist conspicuous in his absence is Ringo Starr, who apparently had a falling out years ago with Hudson. Harry’s voice certainly ain’t what it used to be - the result of damage done to his vocal cords during a bout of drunken screaming in 1974 while making the album Pussycats with John Lennon - but there is still much to love here. Though not without its flaws, it brings me much Harry-Joy. I’m downright shocked at how good this album is. Hudson’s liner notes, in the form of a letter to Harry, will bring a tear to your eye.
(https://www.harrynilsson.com)
Alex Chilton – “My Rival” (10” vinyl) – Rough takes of four fabulous songs. Other versions have circulated, but these are of special interest because the sessions were engineered by Alex’s musical partner in Big Star, Chris Bell. The two had been estranged since 1972. This was the 2nd in a two-part reunion of sorts that occurred in 1975, “within days” of Alex singing backup on Chris’s song “You And Your Sister” (the B-side of “I Am The Cosmos”). Sadly, these sessions would mark the last time the two would work ever together.
(https://omnivorerecordings.com/shop/my-rival/)
Alex Chilton – “It Isn’t Always That Easy”/”If You Would Marry Me Baby”
Two rough but cool demos from 1969, originally released by Omnivore on the 2011 CD version of Free Again: The “1970” Sessions. A groovy 7-inch with pic sleeve (with photos by pal Pat Rainer!), released by the good folks at Light In The Attic.
(https://lightintheattic.net/releases/5262-it-isn-t-always-that-easy)
NRBQ - Turn On, Tune In
Live recordings from SiriusXM in Washington DC and WFMU in Jersey City, NJ. This current line-up of The ‘Q’ does justice to a variety of songs, old and new.
(http://omnivorerecordings.com/shop/turn-on-tune-in/)
If You’re Going To The City – A Tribute To Mose Allison
An especially strong collection of covers of songs written by the legendary, quirky jazz/blues artist Mose Allison. Probably best known in the rock world as the composer of “Young Man Blues,’ which The Who famously covered on Live At Leeds. Other past notable covers by The Yardbirds, John Mayall, Van Morrison, Leon Russell and The Clash make Mose’ influence clear. The impeccable selection of artists on If You’re Going To The City is key to its strengths, among them Iggy Pop, Jackson Browne, Richard Thompson, Frank Black and daughter Amy Allison, who collaborates here with Elvis Costello. Much credit goes to the producers, Sheldon Gomberg and Don Heffington. Proceeds donated to The Sweet Relief Musicians Fund. A very cool record!
(https://store.fatpossum.com/products/if-youre-going-to-the-city-a-mose-allison-tribute)
Live (in LA unless otherwise noted)
January
16 - T Bone Burnett – Capitol Studios (listening party for his new album)
February
1 – Parker Gispert / Criminal Hygiene – The Bootleg Bar
15 – Daniel Romano & band – The Moroccan
16 – Broncho – The Lodge Room
22 – Elle Belle – The High Hat
24 – Chris Stamey & Peter Holsapple – The Federal Bar
March
1 – Criminal Hygiene – The Teragram Ballroom
3 – The Chills – The Echo
12 – Gospel & The Road To Rock ‘n’ Roll (film w/Q&A) – The Grammy Museum
14 – Better Oblivion Community Center – The Teragram Ballroom
20 – Waiting – The Story Of Van Duren (film w/Q&A) – The Grammy Museum
22 – Catfish & The Bottlemen – The Palladium
30 – Jay’s Longhorn Reunion Concert feat. Curtiss A & The Jerks Of Fate, Flamingo, Fingerprints, The Hypstrz, Smart Alex, The SubCommandos – The Parkway Theater – Minneapolis
31 – Jay’s Longhorn Film Premier – The Parkway Theater – Minneapolis
April
2 – Mott The Hoople / The Suburbs – First Avenue – Minneapolis
3 – Curtiss A & Dark Click – The Schooner – Minneapolis
18 – Better Oblivion Community Center (Q&A + performance) – The Grammy Museum
25 – Elle Belle – The Silverlake Lounge
May
3 – Broncho – The Natural History Museum – USC
11 – Chris Mars exhibit – Copro Gallery
15 – A.A. Bondy – Zebulon
21 – Echo In The Canyon (film w/Q&A) – The Grammy Museum
June
4 – Luluc – The Bootleg Bar
11 – Rolling Blackouts Coastal Fever – The Lodge Room
12 – Abbey Road reissue listening party - Capitol Studios
12 – Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese – Netflix (TV)
13 – Glen Matlock – Hotel Café
July
13 – Paul McCartney & band – Dodger Stadium
19 – David Crosby: Remember My Name (film) – The Hollywood Arclight
25 – Andras Jones – Hotel Café
27 – The Center of Nowhere – The Spirit and Sounds of Springfield, MO (film + performances by Ben Vaughn and Robbie Fulks) – Wild Honey Backyard Amphitheater
28 – Freedy Johnson – The Federal Bar
August
9 – Better Oblivion Community Center – The Wiltern
11 – Death Cab For Cutie / Car Seat Headrest – The Hollywood Bowl
12 – Reel To Reel: Creating Woodstock (film w/Q&A)
17 – Leslie Stevens – The Moroccan
18 – All Those Pretty Wrongs - Wild Honey Backyard Amphitheater
24 – Tommy Stinson (solo acoustic) / Tommy Stinson, Tony Kanal, Fred Armisen & Moby (impromptu band - electric!) – Musack Carnival
September
5 – Walter Mosley – in conversation with Viet Thanh Nguyen – Museum of Tolerance
6 – Linda Ronstadt – The Sound Of My Voice (film w/Q&A) – The Hollywood Arclight
8 - Linda Ronstadt – The Sound Of My Voice (again!) - The Hollywood Arclight
11 – The Bird & The Bee – Q&A + performance
18 – Deconstructing The Beatles – Abbey Road – live lecture w/Scott Freiman - Malibu Library
25 – Titus Andronicus – The Bootleg Theater
26 – Fontaines D.C. – The Teragram Theater (cancelled due to power outtage – arrrggghhh!!!)
27 – Dead Man’s Pop – The Replacements record release party – Amoeba Records
October
1 – Michael Nesmith – Q&A + performance – The Grammy Museum
4 – Debbie Harry & Chris Stein – Q&A – The Aratani Theater
15 – Powerhouse– John Burroughs High School Show Choir (feat. Autry Jesperson!)
19 – Criminal Hygiene – The Teragram Ballroom
23 – The Origins Of Alien (film w/Q&A) – Arena Cinelounge
25 – Bruce Springsteen – Western Stars concert film – Burbank AMC 16
30 - Sheepdog Briber’s Hallows Eve Eve Bash w/Phoebe Bridgers, Azure Ray, Charlie Hickey, Rosie Turner - Bootleg Bar
November
5 – Booker T. Jones - Q&A – The Bootleg Theater
7 – Robert Forster – The Echoplex
12 – Broncho – The Roxy
December
2 – Robbie Fulks w/Robbie Gjersoe – El Cid
6 – Dan Wilson & Brad Gordon – McCabe’s
14 – The Everyday Visuals – house concert in Los Feliz
In the Must Mention category
Linda Ronstadt – The Sound Of My Voice (documentary film)
One of the absolute highlights of 2019 for me. I’ve been a Linda Ronstadt fan ever since I heard her recording of “Different Drum” with The Stone Poneys in 1967, but to see her history capsulized in 90 minutes brought the whole of her work into startling relief. I was reminded of her greatness and deeply moved in a way I did not anticipate. Her vocal ability is surely her greatest attribute but the film illustrates two other exceptional traits – her versatility and her self-determination. The latter is clearly evident in her selection of material, career decisions and personal politics, including a firm but never ostentatious or self-righteous feminism. Jennifer and I went to an opening Friday night showing at The Arclight in Hollywood that included a fascinating Q&A after, with musician/peer Jackson Browne, Linda’s longtime guitarist Waddy Wachtel, producer manager John Boylan and film producer James Keach. I was so taken with the film I had to see it a 2nd time immediately and roped my then-17-year-old son Autry into joining me for a Sunday matinee. Autry was only peripherally aware of Linda’s music but about 15 minutes into the movie, he leaned over and said, “Dad, this is incredible!” As the Hollywood Reporter said, the film “Will make you fall in love with her all over again.” Highly recommended, even if you’re not a mad fan (like me)!
(https://www.amazon.com/Linda-Ronstadt-Sound-My-Voice/dp/B07WZWHJ4R)
Jay’s Longhorn (documentary film)
Local musician, Mark Engebretson took it upon himself to celebrate in film the crucial late 70s/early 80s Minneapolis venue Jay’s Longhorn. Mark, former lead singer of the MORs and the Whole Lotta Loves, and currently The Silverteens, knows his Minnesota music history very well. That is evident in this supremely well done documentary. The Longhorn (‘the little club that could’) is especially significant for being the first venue in town that seriously and consistently supported local bands doing original material. Not only did the club essentially introduce many of the Twin Cities’ most important local bands, like The Suicide Commandos, Flamingo, Curtiss A, The Suburbs, Husker Du and The Replacements, it became a regular tour stop for the up-and-comers of the day. Everyone from Mink Deville to The B-52s, Talking Heads, Elvis Costello, Blondie, Iggy Pop, The Only Ones, The Buzzcocks … the list goes on and on. Interviews with Longhorn denizens are threaded together to tell the story of a music room that was important and influential on a scale far beyond Minnesota. Many of us are deeply indebted to Mark and his crew … hat’s off to you Mark!
(https://longhornfilm.com/product/jays-longhorn-dvd/)
Abbey Road preview at Capitol Studios
On June 12th, once again, I was lucky to tag along with Jennifer (who gets all the cool invites!) for a private screening of selections from the then-not-yet-announced upcoming 50th Anniversary Abbey Road box set. A small group of about 25 of us sat in the control room in Studio A in the Capitol Records tower with the tracks booming through that incredible sound system. Jennifer got quite teary-eyed during the instrumental version of “Something,” which Apple president Jeff Jones noticed, saying afterwards, “Now THAT’S the kind of response we were looking for!”
Paul McCartney & band – Dodger Stadium – July 13th
This was a weird one for me. First off, Jennifer was away so it was just Autry and I. Secondly, of all the McCartney shows I’ve ever seen, this was the first one that didn’t explode the second the band hit the stage. They opened with “A Hard Day’s Night” and, as exciting as it was to hear that opening chord fill Dodger Stadium, the performance was a bit flat. Maybe it was just me but it seemed Paul was distracted or somehow just not into it. My excitement flagged. Oh no! How could it be?! The set continued with “Junior’s Farm,” “Can’t Buy Me Love,” “Letting Go” and “Who Cares,” but, inexplicably, things still weren’t clicking. Then, all of a sudden, song #6 hit – “Got To Get You Into My Life” – and, for whatever reason, Paul and band locked into gear. From there on, it was clear sailing! At every McCartney show there are unexpected songs that stand out. This night there were three: “I’ve Got A Feeling,” “Let ‘Em In” and “From Me To You” were all letter-perfect performances. The set closed with warhorse “Hey Jude.” They returned for the encore, first kicking into “Birthday.” Paul then stepped up to the mic and said, “We’ve got a surprise … the one, the only – Ringo Starr!” It was the first time Ringo had ever guested on a McCartney tour show. The roar of the sold-out Dodger Stadium crowd was deafening as they launched into ferocious versions of two songs they’d never done live together - “Sgt. Peppers (Reprise)” and “Helter Skelter.” An electrifying experience for all concerned! Ringo departed and the band finished the show, as always, with “Golden Slumbers,” “Carry That Weight” and “The End.” A Bucket-List-Dream-Come-True (and a little sad cos Jennifer wasn’t there to see it with us)!
Death Cab For Cutie/Car Seat Headrest – Hollywood Bowl – August 11th
We’ve been fans of Death Cab for many years but, for no good reason, had never seen them live. Shame on us – they were brilliant! As were CSHR. Not an easy feat to hold an audience’s attention all the way to the very back seats at the Bowl where we were but both bands rocked it with style and grace!
R.I.P.
Terry Katzman, Hal Blaine, Ginger Baker, Joao Gilberto, Dr. John, Scott Walker,
Roky Erickson, Robert Hunter, Daniel Johnston, Peter Tork, Matt Chipchase and Doris Day.