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So, am 21.11. erscheint nun endlich der Nachfolger von LOST WITH THE LIGHTS ON.
SKELETON BLUES wird sieben (lange ?!) Tracks beinhalten, alles weitere unten, direkt übernommen von der JAGJAGUWAR – Homepage:
01.Open Window Blues
02.You Don’t Know Me
03.Answer Night
04.Medicine Blues
05.The Only Living Boy In Omaha
06.Epilogue In D
07.My Side Of The BluesSIMON JOYNER
Skeleton Blues CD / LP (JAG096, released: 11/21/06)
For Simon Joyner’s tenth proper album, he’s joined by his working Omaha band, the Fallen Men. What they’ve created is a dark, rock-and-roll, beginning or ending of an era, seven leaf catalogue of people (skeletons) and their troubles (blues). Sounding like Doug Yule-era Velvet Underground, Dylan with the Band (or is it Neil Young and Crazy Horse?), and Sister Lovers damaged Big Star, this is unlike any other Simon Joyner record.The song cycle begins with a cobblestone street inviting a man in an open window to splash the bricks below, to the cadence of It’s Alright Ma (I’m Only Bleeding), and ends with a man walking down the street waiting for the rain to wash him clean. In between is all the news fit to sing. Joyner knows it takes a worried man to sing a worried song and the songs here are certainly worried, peopled by bruised lives, but make no mistake, this is not hopeless music.
Unlike recent albums recorded in studios with professional musicians, Joyner expanded his Fallen Men and recorded live in a vacant old train station building in Omaha over the course of one lost weekend. Veteran collaborator Michael Krassner flew in to engineer and was forced to join the band on „warehouse“ piano. Chris Deden (drummer from the early Sing, Eunuchs! records) returns, along with the protean Alex McManus (The Bruces, Lambchop, Bright Eyes), this time cutting his teeth on pedal steel and sharing lead guitar duties with Dave Hawkins. Lonnie Methe is back too, playing organ and vibes instead of violin. Mike Tulis plays the bass.
Skeleton Blues explores themes of loyalty, alienation, death, time, war and divorce. Like the doctor who warns his patient in the Passenger (from 1998’s Yesterday, Tomorrow and In Between), „go forth and run and hide but you’re just like all the others I’ve seen, a skeleton inside,“ Joyner views our struggle for beauty and meaning to be more important than our fear of death and the unknown. His skeletons are people in states of transition, falling and climbing, failing sometimes but always swimming the backstroke from the rolling graveyards.
Simon Joyner writes and makes music in Omaha, Nebraska. Although he tours only occasionally, he continues to charge the musical landscape each time he releases a fresh battery of songs.
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"i tell all my friends that i'm bound for heaven, and if it ain't so you can't blame me for living" Thank You, Jason!Highlights von Rolling-Stone.deHuey Lewis im Interview: „Die Mundharmonika ist die Antithese zum Techno“
Xavier Naidoo: Das „Ich bin Rassist“-Interview in voller Länge
„Westworld“-Schlusskritik: Tschüss, bin wohl zu blöd für die Serie
Rolling Stone Playlist: 10 Song-Schätze auf Single-B-Seiten
Courtney Love: „Kurt wollte sich jeden Tag umbringen“
Video: „Tagesthemen“ berichtet 1994 über den Tod von Kurt Cobain
WerbungIch bin sehr gespannt !
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dito
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Auf der Jagjaguwar-Homepage kann man sich jetzt schon einmal den Medicine Blues anhören. Erster Eindruck: klasse !
http://www.scjag.com/mp3/jag/medicineblues.mp3
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"i tell all my friends that i'm bound for heaven, and if it ain't so you can't blame me for living" Thank You, Jason!Das Stück ist schlicht und einfach grossartig.
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atheism is a non-prophet organisationAus dem aktuellen Cargo-Newsletter zum neuen Joyner Album, welches am 24.11.06 deutschlandweit veröffentlicht wird:
Auf seinem zehnten Album erfährt SIMON JOYNER Unterstützung von seiner Band FALLEN MEN. Was sie auf „Skeleton Blues“ erschaffen, ist düsterer Rock’N’Roll, das gleichzeitige Ende und der Beginn einer Ära, eine Aufreihung von Menschen und ihrer Probleme. Was hier klingt wie THE VELVET UNDERGROUND in ihrer „Doug Yule“-Ära, wie DYLAN THE BAND oder NEIL YOUNG AND CRAZY HORSE ist ein ganz und gar untypische SIMON JOYNER Platte. „Skeleton Blues“ erforscht die Themen von Loyalität, Entfremdung, Tod, Zeit, Krieg und Scheidung. So, wie der Doktor, der dem Patienten im Song „Passenger“ von der 1998er Platte „Yesterday, Tomorrow And Inbetween“ sagt, das der Patient sich zwar wenden kann, wohin er will, aber am Ende innen drin nur ein Skelett wie alle anderen ist, betrachtet SIMON JOYNER den Kampf für Schönheit und Sinn als wichtiger als die Angst vor dem Tod.
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...auf seiner Myspace Seite gibt es weitere neue Songs….
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=27152935
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Ab der nächsten Woche erhältlich !!!
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Nie war ein Monat teurer als dieser November.
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Flow like a harpoon daily and nightlyNichts für Zartbesaitete. Gerade eben den ersten Durchgang beendet, wird bei mir wohl in diesem Jahr sehr weit vorne landen. Für eine abschließende Einschätzung ist es jedoch noch viel zu früh. Mein erster Eindruck ist aber großartig und beeindruckend!
AMGFor those who’ve followed Simon Joyner’s illustrious career as an outsider and underground figure relentlessly looking into the dark side of everything — not for its own sake but for what it has to teach — Skeleton Blues will be a surprise. Recorded with his working band the Fallen Men, Joyner’s made his first honest-to-the-roaming-ghosts-of-all-things-that-matter rock & roll record. Those hoping for another of his quiet, sparse, introspective recordings need not fear, though they will be shocked. The set opens with „Open Window Blues,“ and what you hear is a younger Bob Dylan, still hungry, still trying to wrestle with his shadowy angel (muse), fronting a group as direct and no-nonsense as the Velvet Underground (circa Doug Yule) or the early Television; the Band’s wondrous ambiguity and sense of history would have been ripped apart by these songs. Guitarists Dale Hawkins‘ and Alex McManus‘ interplay is both meaty and spooky. It feels like they don’t work with the songs so much as set them apart and try to explode every last word, and they come close to exploding in reaction to: „But my smokestack eyes withholding rain, oppose/Another burning wheat field full of crows.“ The sung meter is just off enough to allow those wicked six strings to dig through the rhythm section and react with an open hostility, it pushes the singer and finally takes over, revealing what he’s afraid to say. Think „John Coltrane’s Stereo Blues“ or Days of Wine & Roses by the Dream Syndicate but more subtle.
„You Don’t Know Me“ is a kind of comfort, with an easy, shuffling rock beat, but it’s not, really, it’s just a different frame for words that seem to dig underneath the skin, under the marrow in order to project: „The only thing worse than blacking out/Is waking up where you are/I don’t belong to anyone, I don’t belong to anything/I put my breath into my song/I keep my death in front of me…“ The whinnying pedal steel, the guitars exchanging fluid lines, a piano, a glockenspiel, all of them holding up the tired, broken protagonist and letting him see that things aren’t going to change any time soon. „Medicine Blues“ is a surreal look at how we struggle, with our demons in the quest for beauty; we fight, bitch, scream and moan until we cave in and surrender. Then and only then is grace and the perception of real beauty possible. The band gives him a big bottom end, chords and knotty lead lines with a steady stomping 4/4 to make Joyner have to stretch to express. It’s as loud as the man gets. The album closer, two ballads, include „Epilogue in D,“ where Joyner allows the band to simply float behind him on his acoustic guitar. But it’s in „My Side of the Blues“ that the Joyner we recognize returns to close the shop and bind the wounds. It’s over ten-minutes long and it’s just him and an acoustic guitar: „And the pendulum doesn’t swing for passion/Even horror can’t make those stubborn hands freeze/But sometimes just a soft light lit in a bedroom/Can bring a tired traveler to his knees…The trees forgave the fire that went on burning/Until hope was all that was left when the smoke cleared/And I’ll forgive her body for deserting/As soon as I recall why mine is still here.“ The tune stutters, falls, and eventually whispers to a close, leaving the listener full of ideas, notions and an inexplicable feeling that somehow, now that it’s over and done, everything has changed. What remains is the silence, and the feeling of some ghost at her shoulder. This is the path Joyner has been walking on for decades, and it seems that the road and wounds have resulted in his masterpiece.
*in die Aktuellen Platten verschoben*
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Flow like a harpoon daily and nightly@ Sweetheart:
Kann mich Deiner Begeisterung nur anschließen!
Aber es ist ein Jammer, dass „The Only Living Boy In Omaha“ irgendwann dann doch endet. Großartig.--
Flow like a harpoon daily and nightlyHier ein Link zu einem interessanten Interview.
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AnonymRegistriert seit: 01.01.1970
Beiträge: 0
Sind bei der Vinyl- und/oder CD-Ausgabe die Texte abgedruckt?
Was ich verstehe klingt interessant.--
bei der CD ja, aber nur mit Lupe lesbar, und dann auch noch so ne Art Schreibmaschinenschrift, weiss auf schwarzem Hintergrund, is mir zu anstrengend
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out of the blue
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