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Nesey Gallons
* Anna "Nesey" Gallons (born May 1984
https://en.wikipedia.org/wiki/Nesey_Gallons
Discussion: https://en.wikipedia.org/wiki/Wikipedia:Articles_for_deletion/Nesey_Gallons
"You are more than what the pain has put you through."
#ArdenLeigh, from the song When You Come Undone by Arden and the Wolves;
https://ardenandthewolves.bandcamp.com/track/when-you-come-undone
This song was released on the 2016 album It Looks Like Trouble. There's some real lived experience behind these lyrics, and a deep and abiding joy in the performance of the song. A fantastic recording, reminds me of Wreckage by Pearl Jam and every bit as good.
#Listening #Music #rock #SingerSongwriters #ArdenAndTheWolves #FortuneCookies
from the album It Looks Like Trouble
#MusicWomenWednesday this week is this slow, beautiful, haunting song 'Heart Wants', the debut single from Ukranian born (but now USA based) singer-songwriter Rina Ford. Her voice is fantastic, unreal. Love the hell out of this song and psyched to see what else she does.
Kate Wolf Sings “Across the Great Divide”
Listen to this track by Northern Californian singer-songwriter and country folk paragon Kate Wolf. It’s “Across the Great Divide”, the opening track to the 1981 album Close to You, her fourth. That record built on momentum that Wolf created for herself as an independent musician, initially releasing her material with her band The Wildwood Flower on her self-started Owl label. Her style touches on Sixties folk revivalist ingredients inspired by The Weavers, The Kingston Trio, and The Carter Family as well as from the country music radio she heard growing up in the Fifties.
Wolf achieved local popularity in Sonoma County and then the Bay Area, and soon became a stalwart participant in folk festivals all over North America in the 1970s. She didn’t exactly catch on as a name on the cover of Rolling Stone. Maybe this was because she chose to put her music out on her own label and fashion a career outside of the music industry establishment. She would branch out later in the decade when she signed with indie label Kaleidoscope who released her 1979 record Safe at Anchor. But Wolf would remain an independent artist who put out records on her own terms.
Taking her own path allowed her to craft a unique approach to American folk, bluegrass, and country traditions that put the storytelling aspects of her songwriting to the forefront. That emphasis on narrative and lyrical clarity gives Wolf’s music a warm, plainspoken, and straightforward quality that would inspire a generation of upcoming songwriters including Nanci Griffiths, Iris Dement, and Greg Brown. Wolf also inspired her contemporaries. This included Emmylou Harris who covered Wolf’s material later on.
By the time this song and the Close to You album came out, Wolf had folded The Wildwood Flower after two albums. She regularly toured with Bruce “Utah” Phillips, who would become a venerable and venerated folk music figure in his own right for decades. Phillips took her with him on tours of the Midwest, east coast, and into Canada’s folk music festivals in Winnipeg, Calgary, and Vancouver. By the end of the Seventies, she established a musical bond with guitarist and mandolinist Nina Gerber who’s guitar lines are prominent here on “Across the Great Divide” as entwined with Wolf’s own.
On this cut, Gerber and the rest of the band, including Norton Buffalo who provides a second lead voice with his harmonica, help Wolf retain the back porch quality that gives her music its warmth and humanity. The instrumentation and arrangements convey an inviting in-the-room feel that lends this song a certain timelessness, defiant of trends, and leaning into the fundamentals of telling relatable musical stories to an audience without flashiness or artifice.
Singer-songwriter Kate Wolf, circa 1980. image: Kaleidoscope Records – original publicity photo.“Across the Great Divide” remains one of Kate Wolf’s strongest artistic statements. It’s concerned with the strangeness of passing time, when events and chapters of one’s life seem both far away and almost like yesterday all at the same time. By the time she wrote this song, she was entering middle age. Beyond the literal geographical reference to the actual continental divide (where rivers really do change direction), whether this life milestone is the metaphorical great divide in the title or not is arguable.
However, this is a phase of life when perspectives change and people find themselves looking back more often than before. When we do that, it can be overwhelming as well as awe-inspiring as we consider those things which are unique to us; our memories, lessons, travels, mistakes, loves, sorrows, joys, connections, challenges, and achievements. Sometimes, our life stories can seem like they happened to a completely different person as we reflect on them. At a certain point in our lives, it becomes easy to say to ourselves where all the years went, I can’t say.
That contemplative space is exactly where this song lives. In this, “Across the Great Divide” has less to do with Kate Wolf as she sings it, and more to do with us as her audience as we hear her sing. And maybe this is a more useful conception of a great divide, metaphorically speaking; an earned awareness that has grown out of experience and how our own sense of mortality shapes our perspectives as we look back on where we’ve been, who we’ve been, and who we’ve become in the bewildering passage of time.
Wolf’s song suggests that an embrace of the mysterious nature of our lives as beings in time is the best way to avoid being in fear of it.
The finest hour that I have seen
Is the one that comes between
The edge of night and the break of day
It’s when the darkness rolls away
~ “Across the Great Divide” by Kate Wolf
There is a certain defiant hopefulness in this line. Where a song about the passage of time and of mortality could have easily turned down a path defined by ennui, this tune leans toward the light instead. Perhaps this is yet another great divide to consider as we find ourselves on the mountainsides of our lives; that they have been worth living, and that even in their imperfect episodes, they belong to us. As we consider the passing years, we can decide to be content instead of fearful as we straddle the great divide between the edge of night and the break of day.
Kate Wolf put out two more records of original material after Close to You, taking a brief sabbatical at one point, and then resuming her activities on the folk festival circuit and on broadcasts including A Prairie Home Companion and Austin City Limits. In April of 1986, Kate was diagnosed with acute leukemia. After a period of recovery and remission, the disease returned and she underwent a bone marrow transplant. Her immune system never bounced back. She died in December of 1986 at the too-young age of 44, remembered fondly by her fans, musical peers, and celebrated by her friends and family.
Speaking of her family, they established and currently curate the Kate Wolf official website. So, to learn more about her including biographical information and notes on all six of her original albums along with posthumous live and compilation releases, be sure and check that out.
To get a sense of Kate Wolf as a live act, check out this clip of her playing “Like a River” on Austin City Limits. Among other things, you’ll get a sample of Nina Gerber’s considerable skills on the mandolin along with that of fellow player Randy Sabien.
Enjoy!
#80sMusic #countryFolk #CountryMusic #Folk #KateWolf #singerSongwriters #songsAboutExistence
Croce.
b. January 10, 1943 I’m a softy for singer/songwriters. I was in my early teens when Jim Croce hit the scene. He hit it hard, his music was everywhere. And then … he was gone. What he left us was nothing short of magical and masterful. Listen to my Jim Croce playlist on Amazon Music ... #jimcroce #birthday #folkrock #70smusic #singersongwriters #softrock #rock #rockmusic #music #musicsky #musiciansky
New York
Many call it his best work. Ever. It earned Lou a Grammy nomination and featured his first #1 Modern Rock hit, "Dirty Blvd."Lou Reed's New York is released on January 10, 1989. Listen to New York by Lou Reed on Amazon Music ... #loureed #newyork #rock #singersongwriters #80srock #rock #rockmusic #music #musicsky #musiciansky
20 Great Joe Jackson Songs
Joe Jackson at the El Macombo, Toronto, May 21, 1979. image: Jean-Luc OurlinJoe Jackson kicked off his career from the mid-1970s as a classic outsider. He was not really a snotty punk, nor was he a classically chiseled rock god. Instead, he was gifted (or burdened) with formal training in musical theory and a keen ear for composition and intricate arrangements. Even so, Jackson found himself caught in the eddies of some prevalent musical movements when he started working live dates as a jobbing musician and bandmember, those being pub rock and its tagalong little brother London-based punk rock.
The punk scene in particular turned its nose up at any hints of musical sophistication. But as a songwriter, Joe Jackson was deft enough to capture its energy into some deceptively intricate music that still remained highly accessible. Even contending with comparisons to the Stiff Records sound put forward in the press when he started, Joe Jackson carved out his own niche anyway. Over the decades, that niche was sometimes fashionable and sometimes not. But throughout, he always explored interesting angles wherever he could find them. To illustrate this, and to celebrate him as a unique songwriter and musician, here are 20 great Joe Jackson songs that span years, genres, and musical eras.
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Is She Really Going Out with Him?
Derived from the spoken word intro to The Damned’s “New Rose”, that phrase in turn borrowed from the Shangri-La’s’ “Leader of the Pack”, Joe Jackson’s first big hit on 1979’s Look Sharp! established his authorial voice as a man standing out of step with his surroundings. With Jackson’s piano taking a supporting role, his band crank out a punkish attack married to a Sixties girl group feel as Jackson’s sneer of a voice sings of pretty women walking with their attendant gorillas down his street.
Listen: Is She Really Going Out with Him?
Sunday Papers
Always a social critic, Joe Jackson aims his ire at the salacious British press on this cut also from Look Sharp! perhaps unaware of how well his insights would retain their relevancy. With chopping ska-inspired guitar chords and stalwart Graham Maby’s exploratory and melodic basslines, the song telegraphs barbs of cutting sarcasm and irony at the shallowness of the press and those who believe every word they print, galvanizing a whole generation’s jaded attitude around mass media spectacle.
Listen: Sunday Papers
I’m the Man
The title track of his second release of 1979, “I’m the Man” continues where “Sunday Papers” left off, this time considering society’s commoditization of everything you can name. Even the record’s cover reflects sentiments of a world littered with cheap salesmen, and another example of Jackson’s displaced perspectives of the world around him which would only deepen later on. Jackson’s band rip this one to shreds, particularly drummer Dave Houghton who tests the durability of his kit with notable ferocity.
Listen: I’m the Man
Friday
Joe Jackson’s interest in jazz and pop intersections was in place even from the start of his recording career. Further evidence of this would emerge soon enough. Meanwhile, “Friday” features a tight new wave power-trio arrangement that deftly streaks down corridors of sophisticated, jazzy changes. This cut is just as ready for the pub crowd, inviting happy cheers from the crowd in a song about how aspirations, energy, and senses of self can so easily evaporate in nine-to-five drudgery.
Listen: Friday
On Your Radio
A pop missive with compositional sophistication that still wears a skinny tie, Jackson’s “On Your Radio” finds the narrator kicking off the dust of past hardships suffered by a boy who couldn’t fit in, establishing his niche in a world where he’s finally found acceptance – on the radio. Jackson perfectly frames his voice on this cut – always distinct with a curled lip of disdain that you can practically hear. But the song’s joy outweighs its bitterness, even if the latter remains.
Listen: On Your Radio
Mad at You
Jackson contemplated a drift away from new wave’s stylistic template by 1980’s Beat Crazy. “Mad at You” is a final statement from that first phase of his career, hitting all the marks of post-punk aggression with a distinct layer of self-awareness that may or may not include a parting shot to the new wave tag by being so on-the-nose. Graham Maby’s bass provides a rhythmic anchor with a primitive, insistent riff as Jackson lays down one of his rawest vocal performances, ironic or not.
Listen: Mad at You
Steppin’ Out
A move to New York City inspired new approaches to composition and arrangements on 1982’s landmark Night & Day, even if themes of displacement and alienation remained. With his massive hit “Steppin’ Out”, it might take time to detect them, full as it is with stately grand piano vistas and a scrappy little drum machine now fully embracing a nocturnal world of jazz and mythical mid-century excursions. It carried a sense of wistful nostalgia even when the song was new.
Listen: Steppin’ Out
Breaking Us in Two
Where “Mad at You” approached relationship troubles like a man with a hammer perceiving every problem as a nail, “Breaking Us in Two” is the more lyrically nuanced tune. Its narrator finds himself in a world that he must confront from the inside, rather than in one he’s free to criticize from without. This shift is notable for Jackson the songwriter. Besides that, it positioned Joe Jackson’s more dominant and superb piano as a refreshing sound on mainstream radio.
Listen: Breaking Us in Two
You Can’t Get What You Want (Until You Know What You Want)
If Night & Day is the New York club date, then 1984’s Body & Soul is the Broadway show. A flagship song from that record, “You Can’t Get What You Want (Until You Know What You Want)” is an irony-free and brassy jazz-pop effusion. Even if Jackson’s voice seems built to convey wryness in everything he sings, he carries off the joy and optimism anyway with a life-affirming and fulsome arrangement that beams with enthusiasm to help take him there.
Listen: You Can’t Get What You Want (Until You Know What You Want)
Be My Number Two
A story of a man trying to get back on his feet with someone new after a heartbreak, “Be My Number Two” is either a defiantly optimistic love song, or a tale of a man doomed to repeat his mistakes. Either way, it finds Jackson reaching new levels of nuance and emotional resonance. His simple and melodic piano lines in a song about how complicated love can be provide stark contrast, completed by an epic saxophone reprise and finish.
Listen: Be My Number Two
Home Town
A native of Portsmouth, a seaside town in England, Jackson’s song about it featured on 1986’s Big World is a classic wistful lyric contrasted with an ebullient guitar-bass-drums arrangement. By the end of the Nineties in solo piano versions, Jackson ditched the ironic distance in favour of a genuine reflection on his own complex yet still affectionate relationship to the place in which he grew up, bringing out its charms as one of Jackson’s best compositions.
Listen: Home Town (Big World Version) | Home Town (live version)
Down to London
Joe Jackson takes another tack on the theme of home towns in “Down to London”, a key track from 1989’s Blaze of Glory. A kitchen sink tale of hopefuls trying to see over their limited horizons, the setting is a city of revolutionary artistic movements and lost souls in equal measure. Spiced with a Sixties pop flavour, this cut is a celebration and a warning in a story that’s as resonant now as it was since London was first founded.
Listen: Down to London
Me and You Against the World
Ending the 1980s in a titular blaze of glory, “Me and You Against the World” is the sonic equivalent of youthful fervour to change the world through sheer force of will. Joe Jackson makes us feel that it’s all possible in this tune that features a towering arrangement of brass, call and response vocals, ringing guitars, and a singalong refrain. This cut sets the scene to preserving the belief that positive change is possible, applicable to any era.
Listen: Me and You Against the World
Stranger Than Fiction
A bona-fide pop single with Sixties references suitable for a new decade on 1991’s Laughter & Lust, “Stranger Than Fiction” is adorned by organ, big backing vocals, and a cornucopia of percussion. This is a grown-up tale about how the details of life in their ordinariness can reveal profundity when you’re in love. This song in Jackson’s catalogue that distinguishes itself in its contentedness would be the last of its kind for a few years from here.
Listen: Stranger Than Fiction
Happyland
Removing himself from the pop landscape for a while in the Nineties, Joe Jackson continued in his neo-classical composition explorations. By 2000, he’d revisit his complicated relationship with New York City, a theme found on his Night & Day album. “Happyland” is a gem from Night & Day II finding him blending all those elements with vivid imagery and wistfulness in equal measure. Its complex emotional profile matches its compositional sophistication in an affectionate song of memory, tragedy, and love.
Listen: Happyland
Still Alive
Returning to the pop-rock fold by 2004, Joe Jackson gathered his original band together that joined him on his first three records. The appropriately-titled Volume 4 has Joe Jackson and his guys combining their unique dynamics with deeper poise that takes them beyond a straightforward nostalgia trip. “Still Alive” leans into a shared love of Sixties British guitar pop with patented irony reflected in the song’s title, played as it is by his old army buddies in a new century.
Listen: Still Alive
A Place in the Rain
For 2008’s Rain, Jackson retains Graham Maby on bass and Dave Houghton on drums for a collection of pop songs arranged for a jazz trio who contrarily don’t play jazz at all. Jackson’s piano takes centre stage as he sings of taking deliberate measures to change one’s place and times. Perhaps, like Night & Day before it, these themes are driven by a move to a new city – this time Berlin. “A Place in the Rain” closes the record with a hopeful note, although decidedly under overcast skies.
Listen: A Place in the Rain
Rush Across the Road
Like a burst of sunshine on the Rain album, “Rush Across the Road” can be easily viewed as an almost thirty-year follow-up to “Is She Really Going Out with Him”. It has the narrator seeing the pretty woman once knew (this time without her gorilla) walking down his street as a chance to redeem past resentments and embrace affection instead. This song is one Jackson’s most good-natured, reflective of how the years can banish old insecurities much easier than we ever thought they could.
Listen: Rush Across the Road
A Little Smile
Joe Jackson did the rounds for 2015’s Fast Forward, recording in various cities and with equally varied line-ups of musicians. “A Little Smile” reflects Jackson’s skill at balancing shadows and light in his arrangements. This is a song about being in conflict balanced with the belief that it only takes a little bit of love and respect to get out of it again. In this, he demonstrates another skill proven throughout – that optimism like this doesn’t have to sound saccharine.
Listen: A Little Smile
Strange Land
“Strange Land” from 2019’s Fool captures the feeling that one’s time has passed without a map by which to proceed into the next era. This song updates a familiar Joe Jackson theme of being on the outside, marked by lyrical jazz textures and a stop-start arrangement that communicates hesitancy. It also reminds listeners that when uncertainty endures, an impulse to ask questions gives us the chance to gain new perspectives as old worlds pass to make way for new ones.
Listen: Strange Land
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Runners up and bubbling under:
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Joe Jackson didn’t exactly fit into any one scene or genre as he developed his career. He still refuses to stay in one artistic province for very long. Yet at the same time, he is an artist with a unique and instantly recognizable artistic voice, with a thread running through everything he’s done that make him one of the most singular artists of the modern rock era.
Joe Jackson is an active and artistically curious artist today. You can catch up to him at joejackson.com for news and new releases.
Also, check out this link for a whole TEN MORE great Joe Jackson songs also written by your humble Delete Bin writer and Editor-in-Chief.
Enjoy!
#20GreatSongs #JazzRock #JoeJackson #NewWave #singerSongwriters
The Godmother of Punk
Happy birthday to Patti Smith. Singer Patti Smith outside CBGB on its closing night - New York, NY - Oct 15, 2006 (credit: TIMOTHY A. CLARY/AFP/Getty Images) Listen to my Patti Smith playlist on Amazon Music ... #pattismith #happybirthday #70srock #80srock #90srock #godmotherofpunk #punk #singersongwriters #rockmusic #music #musicsky #musiciansky
http://robinbannks.com/2025/12/30/the-godmother-of-punk-b-december-30-1946/
Shelagh McDonald Sings “Stargazer”
Listen to this track by Edinburgh-born and Glasgow-raised chamber-folk singer and one-time musical cold case file Shelagh McDonald. It’s “Stargazer”, the title track to her 1971 record to follow up her debut that appeared the year before. The album features contributions from a galaxy of British folk luminaries including Richard Thompson, Dave Mattacks, Danny Thompson, and others.
This level of talent on her record is a reflection of McDonald’s status in that community of songwriters and musicians. Her clear alto voice is easily in the same league with the genre’s best singers like Jacqui McShee, Sandy Denny, and others of the era. The late 1960s and early 1970s was a period when traditional music from the British Isles and original songs inspired by it represented a commercial beachhead to build a lasting career. With the Stargazer album’s positive reception at the time, things were really looking up for Shelagh McDonald.
However, McDonald’s path as a professional musician and songwriter didn’t exactly go to plan. Strange circumstances surrounded her life after this song and its namesake album came out. For many years, McDonald’s life trajectory was shrouded in mystery after a severe reaction to LSD sidelined her career as a musician. Plagued with the aftermath of her bad trip that included temporarily her losing her ability to sing, McDonald left London and went back to her parents in Scotland. Later on, she married Gordon, a bookshop owner and scholar. Things didn’t go to plan there, either.
Instead of settling down into a middle-class life similar to her upbringing, McDonald spent years in dead-end jobs and on government benefits. She lived with her husband in a tent for a long while before returning to writing and performing. Her return to the world came after she read about her own decades-long disappearance one day in the local paper. This was around the time the Let No Man Steal Your Thyme compilation came out in 2005 when the assumption had been that she’d simply vanished.
After reconnecting with some of her old contacts, she’d follow up with a third record Parnassus Revisited in 2013, 42 years after its predecessor. By then, she’d reinvented herself and her singing voice for live appearances. She considered her time as a missing person as if it were a kind of parallel existence rather than as lost time. She experienced great disappointment and grief over the loss of her career as a professional musician. But looking back, McDonald remained satisfied that things worked out well for her overall. She’d eluded fame’s treadmill and had lived her life free of its obligations.
Shelagh McDonald had come to be a songwriter and musician from the grass roots level, initially as an admirer of Bert Jansch, Joan Baez, Peter, Paul, and Mary, and others. By the end of the 1960s, she’d started playing the same folk clubs in Glasgow as John Martyn, Billy Connolly, Gerry Rafferty, and others. Soon enough, she received an invitation to come down to London through fellow musician Keith Christmas to establish herself on the scene there, too. This eventually led to becoming a recording artist.
Making a record was a new world for her. She’d been a musician used to solo club dates and “floor spots”, not studios. But by the time of her second album, Stargazer, she’d got used to the way things were done in the studio. It helped that she had a good feel for working with engineer John Wood who’d famously worked closely with her contemporary, Nick Drake. But sometime during the making of a follow-up record by 1972, everything went awry.
The derailment of her career as a rising star of British folk was considered a tragedy by many, and almost thought of in the same way as Nick Drake’s unfortunate path. That’s hard to refute in terms of her lost artistic potential as a recording artist, given her level of talent. Of course, unlike Drake and also her contemporary Sandy Denny, she survived. The only tragedy that remains is how much attention her one-time missing person status took away from the praise her work deserves. Her slim volume of material showcases her abilities as a singularly gifted vocalist who delivers original material that packs an emotional punch.
Title track of her second record “Stargazer” is a case in point by itself; a richly layered song that pulls from traditional music in terms of both textures and themes, but also from chamber pop, film music, and even an operatic chorus in the extended outro to lend it powerful gravitas and a kind of cinematic majesty. There is a wintry beauty to this track that’s full of natural images, overwhelming and unspoiled landscapes, and of mythical evocations of idealized love and the passage of time in the tradition of British Romantic poetry.
He was a stranger to her, his father was a poet
Led her by the hand up the hill
Touched the golden sunset
How do feelings die? He’s afraid to know
Why does she have to lie?
She’ll only stay until it’s time for her to go
She said: take the sun in your hand, be glad
For this is love you hold …
~ “Stargazer” by Shelagh McDonald
The string arrangement on this cut is by Robert Kirby who’d worked up similar arrangements on Nick Drake’s Five Leaves Left and Bryter Layter. The quality he struck on those records also apply here; a kind of tragic wistfulness that also contains a sunrise of hope only just hidden and about to emerge behind the song’s foreground. This is in line with the lyrics to this original tune by McDonald, full of the same kind of imagery and with an emotional palette of wonder, loneliness, expectation, and contentment all living in the same space and as a part of a melancholic spectrum. True to folk traditions, “Stargazer” reflects a quality both of its time and transcendent of it. It’s impact, which is the result of how well the arrangement frames McDonald’s voice and the story she’s telling, is immediate and profound.
This cut captures a central truth to the human experience; that we’re all wandering to one degree or another, seeking the light of the sun as we climb the hill. None of us have any assurances that the one holding our hand as we ascend will still be there when we reach the top. Yet it’s in moments along the way that we find the our rewards as we make our way upward and onward, holding onto love as best we can as we go.
For more on Shelagh McDonald, read this interview with musician Ian Anderson from 2012, just before she returned to the stage by early the following year. McDonald touches on her career and the events and intervening years that interrupted it. But she also expands on what the vital British folk scene looked like and how it felt to be a part of it during its late-Sixties-early-Seventies golden period.
There’s also this 20-minute interview on the BBC to hear McDonald talking about her early career, her life off the grid, and what it was like to return to music.
Enjoy!
#70sMusic #britishFolk #chamberFolk #pastoralMusic #shelaghMcdonald #singerSongwriters
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