In any shooting gallery where promises are made….
I’ve been finding comfort in familiar sound recently so those newer releases by the Pixies etc haven’t really been given a listen. But, here’s an idea of the current playlist:
Jack Rose and his mastery and innovation of the acoustic is actually a new discovery for me. I think the lack of vocals made it easier for me to get into over the last couple of weeks. A huge body of work still to hear for the first time as Mr Rose made a lot of music before his untimely passing but this, from the brilliant album I Do Play Rock and Roll is hypnotisingly awesome.
Because I’m still gobbling up House of Cards
I don’t think I’ve even mentioned Mr Petty on here… odd. Anthology; Through The Years is one of those rare compilations that’s absolutely perfect and, after starting to watch Runnin’ Down A Dream on Netflix, is now back in rotation in my car. Eddie Vedder says, at the start of the documentary, “The first time you hear a new Tom Petty song is sounds like, you know, a classic song.” – he’s not wrong. If you only have the aforementioned compilation you’ll know just how many sheer belters the man has written.
Going back to an earlier discussion on Dire Straits… I’ve been listening to Making Movies the last couple of days, in particular this opening track (and Skateaway). It’s made me wonder something though; in 1980 Mark Knopfler borrowed both a producer (Jimmy Iovine – having loved the production sound of Patti Smith’s ‘Because The Night’) and band member (Roy Bittan) from Bruce Springsteen to make what was the band’s breakthrough third album (Iovine had a thing for making third albums). A few (seven to be precise) years later Bruce dropped his own (and arguable one of his finest) album and song called Tunnel of Love. Where Knopfler’s track featured lines like “Come on and take a low ride with me girl, on the tunnel of love”, Bruce used “Cuddle up angel cuddle up my little dove, we’ll ride down baby into this tunnel of love”… Now, while both album’s dealt fairly prominently with love’s broken promises, Bruce’s album and lyrics were significantly different, more nuanced and the sound very much of his own but… I have to wonder; surely Bruce must’ve heard what his piano player and produce had been moonlighting on and did that plant a seed that, over a few years, grew into one of his most brooding and significant albums?