[Mixtape]: “Baby, It’s Cold Outside” – Songs To Keep You Warm


“Then the snow started falling, we were stuck out in your car”

Time for another mixtape methinks. Autumn is officially in full swing where I am: the trees are nearly stripped bare, your breath hangs in the air and you have to go out fifteen minutes earlier in the mornings to turn the heater on in the car and scrape the windows. Following on from my post about confessional albums last week, I thought it would be nice to post this mix of songs designed to keep you warm inside as winter creeps in. Wrap up warm, plug in and enjoy.

Tracklist:
1.
 ‘Observatory Crest’ – Captain Beefheart – Bluejeans and Moonbeams
2. ‘Autumn Sweater’ – Yo La Tengo – I Can Hear The Heart Beating As One
3. ‘Sugar Mountain’ – Neil Young – Decade
4. ‘Don’t Want To Know’ – John Martyn – Solid Air
5. ‘Blood Bank’ – Bon Iver – Blood Bank EP
6. ‘Headlights Look Like Diamonds’ – Arcade Fire – Arcade Fire EP
7. ‘Obstacle 2’ – Interpol – Turn On The Bright Lights
8. ‘So Here We Are’ – Bloc Party – Silent Alarm
9. ‘Norway’ – Beach House – Teen Dream
10. ‘Með Blóðnasir’ – Sigur Rós – Takk
11. ‘Once Around The Block’ – Kings Of Convenience – Toxic Girl [Single]
12. ‘Wildfires’ – Josh Ritter – The Historical Conquests Of Josh Ritter [Bonus Tracks]
13. ‘Harvest Moon [Live]’ – Pearl Jam – Live Portland, OR, 20/07/06
14. ‘Cherry Blossoms’ – The Horrible Crowes – Elsie
15. ‘The Trapeze Swinger’ – Iron & Wine – Around The Well

Cover Credit: Winter Story by Nayein

Got any winter mixes of your own? Link them in the comments, I’d love to hear them.

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[Cover Me]: Jimi Hendrix, Bat For Lashes & Baby Huey

Jimi Hendrix – ‘Killing Floor’ (Originally by Howlin’ Wolf)

Let’s kick off the weekend and this week’s Cover Me by rippin’ it up with some Jimi. Originally recorded and released in 1964 on Chess Records, ‘Killin’ Floor’ became a standard of the Chicago electric blues sound. Driven by a drum beat that chugs along steadily like a locomotive and punctuated by Hubert Sumlin’s spiky guitar part, the song is a classic tale of bad lovin’ delivered in Howlin’ Wolf’s trademark growl. Although the song rumbles on at a fair pace already, three years later Hendrix decided to take things up a few notches for his rendition (as was his way with all of his covers). What ensues on this opening number from the 1967 Monterey Pop Festival is a high-octane blues explosion, with Noel Fielding’s bass keeping things moving along smoothly in the background while Mitch Mitchell dishes out cascades of crashing cymbals and pounding drums and Hendrix does his thing. The blistering guitar pyrotechnics (which would become literal guitar pyrotechnics later in the concert) on the audio recording alone is enough to blow you out of your seat, but when you watch this performance it really drives home what a showman Hendrix was. Flamboyant and devastating; Hendrix was more than a spectacular musician, he was a force of nature.

Bat For Lashes – ‘I’m On Fire’ (Originally by Bruce Springsteen)

The centrepiece on Bruce Springsteen’s Born In The USA already burned with feverish longing, but in the hands of Natasha Khan it becomes a thing of smouldering grandeur. Khan changes the gender of the protagonist and in many ways this rendition feels like a female answer to Springsteen’s man who wakes up “with a freight train running through the middle of my head”. Where the muted guitar and cool organ of the original bely barely restrained passion, the wistful violin and shimmering marxophone here reflect a slow-burning desire. Where Springsteen’s croon is raw and soulful, Khan’s siren call is poised with grace and drama. Listened to side by side, it is almost as if the protagonists of each version is reaching out for the other.

Baby Huey – ‘A Change Is Gonna Come’ (Originally by Sam Cooke)

And now to bring it on home with a Sam Cooke song. I first heard this version on the Huey After Midnight show on BBC Radio 2 and it floored me. ‘A Change Is Gonna Come’ is one of the most powerful songs in history, resonating with the endurance and dignity of the human spirit, and Baby Huey puts his heart and soul into his rendition. He begins slow and masterful, echoing Cooke’s own graceful introduction, but as the song builds he yelps and wails in anguish, giving life to the endured pains and injustices the song addresses. Amongst plaintive horns things simmers down around the six minute mark and Baby Huey opens up and rhapsodises about the hard times and loss of innocence in his Indiana hometown. “There are three types of people in this world, that’s how I know a change is gonna come,” he claims, “There’s white people, there’s black people, and then there’s my people”. It is an all-embracing statement in line with the original song’s message, and it is a shame Baby Huey could not see how people would receive it for he died at the age of twenty-six from a drug-related heart attack before his only record’s release. Nevertheless, the record, produced by Curtis Mayfield, and this song stand as testament to the man. It is an epic nine and a half minute trip with tinges of gospel and psychedelia, which winds its way much like the course of the river in the song and when Baby Huey claims “I feel a change coming”, you believe him.

[On The Record]: Confessional Records.

As the mornings get colder and the nights draw in close, I always find myself listening to albums of a more personal nature. Maybe I’m a bit voyeuristic, but I do love a good confessional or break-up record full of excoriating truths and heart wrenching tales. Somewhere in between the longing and anger though, there is a cathartic comfort to be found. Against the closing in of autumn and winter such albums can feel like small intense fires, which warm you through to your bones. So, I thought I’d give a rundown of some of my in-the-wee-small-hours-of-the-morning favourites…

Bob Dylan – Blood On The Tracks

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“Sundown, yellow moon, I replay the past, / I know every scene by heart, they all went by so fast.”

With any artist there’s always the tricky matter of how much to take as autobiographical and how much is artistic license. This is especially the case with Bob Dylan, an artist who has delighted in misleading and provoking listeners and critics alike. However, Blood on the Tracks, written around the time of his separation from then-wife, Sara, is probably the closest we will ever get to Dylan’s personal experiences and observations on relationships. It is a dizzying collection of scenes, some depicting longing and bitterness (‘You’re A Big Girl Now’), others articulating contentment and fond memories (‘Shelter From The Storm’). As ever though, Dylan playfully leaves questions unanswered in even his most detailed accounts and sometimes he merely treats us to a glimpse of a girl who “might be in Tangiers”, leaving the listener to draw their own conclusions. Even if these stories are not true of him, these perceptive songs are certainly true of somebody at some time or another and rank among Dylan’s finest work.

Nick Cave & The Bad Seeds – The Boatman’s Call

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“We will know, won’t we? The stars will explode in the sky, / But they don’t, do they? Stars have their moment then they die.”

After the chilling and blackly-comic Murder Ballads, The Boatman’s Call was something of a complete U-turn for The Bad Seeds. Where the former is lascivious and merciless, the latter is sombre and restrained, displaying monk-like calm throughout the grief and intense self-scrutiny. Sparked by Nick Cave’s break up with PJ Harvey, he would later denounce it saying “I’d got dumped by some bird and here I was making this grand statement – about some fucking sheila!”’ Despite Cave’s retrospective criticisms of the album, it remains one of the Bad Seeds’s best records and features some of Cave’s most beautifully written lyrics. The album moves from optimism on spiritual-devotional love songs ‘Into My Arms’ and ‘Lime Tree Arbour’ through to misanthropy and self-loathing on ‘People Ain’t No Good’ and bleak album-closer ‘Green Eyes’. Against the backdrop of meditative melodies from the Bad Seeds, it is Cave’s commanding voice which really drives the album home, striking through to the core as if he were delivering a sermon from a pulpit.

Eels – Electro-Shock Blues

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“Life is funny, but not haha funny, / Peculiar, I guess.”

 From an album whose near opening lines are “My name’s Elizabeth, my life is piss and shit”, you’d expect Electro-Shock Blues to be one long doom and gloom fest. Given the details of Mark Oliver Everett a.k.a. E’s life, you’d forgive him for it (see the album’s story in comics here). But as ever, E finds comfort in creating esoteric, feel-good music with a serious side. It’s a journey you share with E all the way to its stoic conclusion on ‘P.S You Rock My World’ (“I was at a funeral the day I realised I wanted to spend my life with you […] And I was thinking about how everyone is dying, And maybe it’s time to live”). Graceful and indomitable, the album is a lesson in carrying on. Just as good is his recent three album cycle Hombre Lobo, End Times, Tomorrow Morning which follow relationships from infatuation to disintegration to recuperation.

Joni Mitchell – Blue

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“The bed’s too big, / The frying pan’s too wide.”

The biggy in the confessional album world, Blue really is the archetypal confessional album. As Joni Mitchell broke up with longtime partner, Graham Nash, and an increasing post-60’s hangover began to set in for the summer-of-love generation, she moved away from her flower-child image and further explored the personal side of her songwriting. What resulted on Blue was Mitchell letting all her barriers down and giving herself over completely to unmitigated emotional expression, revisiting experiences of infatuation, insecurity, estrangement and giving a child up for adoption. The diverse emotional ground she covers is vast, conveying both painful and joyful experiences in all their emotional intensity. Probably Mitchell’s greatest achievement with this album though is that she really manages to communicate the emotions present in each song, and not just their sentiments.

The Horrible Crowes – Elsie

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“I heard a curse being born, / Forming each finger and forming each thorn.”

Set up by Brian Fallon and his guitar tech Ian Perkins as a more unplugged and intimate outfit than The Gaslight Anthem, The Horrible Crowes’s Elsie shot into the top five of my best of 2011 list and it has been played many times since then. Dealing with themes of loneliness and heartbreak, it seems no coincidence that The Gaslight Anthem’s following album, Handwritten, tackled more difficult personal issues than their previous output. On Elsie, Fallon strikes a fine balance between hushed and intimate moments like ‘Sugar’ and raucous belters full of rage like ‘Mary Ann’.  And while there are plenty of tear-jerkers (’Cherry Blossoms’ is particularly gut-wrenching), Fallon ultimately ends on an optimistic note with ‘I Believe Jesus Brought Us Together’. Raw, poignant and sublimely crafted, Elsie marks out Brian Fallon as a major songwriting talent in America today.

Bon Iver – For Emma, Forever Ago

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“For every life… forgo the parable”

Suffering from glandular fever and break-ups with his former band DeYarmond Edison and a relationship, Justin Vernon retreated to a hunting cabin in Northwestern Wisconsin over the winter of 2006 in order to lick his wounds. When Vernon re-emerged in spring 2007 he had recovered from his ailments and carried with him a collection of nine personal songs he had recorded. Self-released under the moniker Bon Iver (derived from the greeting “bon hiver”, French for “good winter”) on a small initial pressing in mid-2007 and later reaching worldwide release in 2008, For Emma, Forever Ago sounded like nothing else when it landed. Complex, yet minimalist, the album perfectly evokes the intimate atmosphere in which it was made, every note indelibly placed and resonating to fill the space. Meanwhile, Vernon delivers his cryptic lyrics in an elastic voice charged with emotional energy that stops you in your tracks. It is the sound of loneliness, introspection and, above all, healing. As ‘re:stacks’ fades out at the album’s close, there is the barely perceptible sound of Vernon walking away from the microphone and dialling a number, signalling that he is ready to return form hibernation.

Tom Waits – Blue Valentine

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“I’ll take the spokes from your wheelchair and a magpie’s wings, / And I’ll tie ‘em to your shoulders and your feet”

Despite his gruff exterior (and even gruffer voice) Tom Waits has always had a soft spot for romance, especially where the bungled and the botched are concerned. Even when his characters are in the gutter, more often than not they have one eye cast up at the stars. As Waits began to stretch himself and break out of his boho-poet image he made Blue Valentine, a blues-jazz masterpiece documenting romance in the dark areas of town, and the danger that inevitably follows. In some areas he is the danger (‘Whistlin’ Past The Graveyard and ‘A Sweet Little Bullet From A Pretty Blue Gun’), and sometimes the danger finds him (‘Romeo is Bleeding’, ‘$29.00’). Sometimes he sings with tongue firmly in cheek (‘Christmas Card From A Hooker In Minneapolis’) and sometimes he is achingly honest (‘Blue Valentines’). Covering fractured romances in all their comic and heroic guises, Waits’s most triumphant moment is on the poignant ‘Kentucky Avenue’ where he recalls an intense childhood friendship with a boy who suffered from polio. A romantic album for all the broken things out there.

Josh Ritter – The Beast In Its Tracks

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“Oh, the appleblossom rag, lord, I’m such a fool, / For things that sing so sweet and sad, and are so goddamn cruel.”

For a year after a bitter divorce from his wife, songwriter Dawn Landes, Josh Ritter experienced difficulties sleeping, passing out from the exhaustion of an intensive schedule only to be wakened by nightmares. His dreams were so awful he took to fearing sleep, as if his grief were hunting him down. Out of this state came the germs of The Beast In Its Tracks, where he claims songwriting proved a retreat: “Some nights, the songs I was working on helped me stay ahead of it. Other nights, the heartbreak got me”. The album is actually cheerier than its birth might suggest and Ritter delivers much of the album from the perspective of having recovered and become a father in the interim. ‘A Certain Light’ and ‘In Your Arms Again’ sees Ritter safe in the arms of a new lover and thankful for the tranquility. However, The Beast In Its Tracks has plenty of the darkness of those haunted nights too, delivered often by sleight of hand. ‘The Appleblossom Rag’ covers self-deception in a plaintive solo acoustic performance while ‘Evil Eye’ and ‘Nightmares’ bounce along on cheerful melodies which disguise Ritter’s harrowing lyrics documenting his night terrors. Even ‘New Lover’, one of the uplifting singles where Ritter evenhandedly wishes his old lover well in the light of his new, happy relationship, has a sucker-punch at the end so sly that you barely notice it as the song sweeps you along on its jubilant energy: “But if you are sad and you are lonesome and you got nobody true, / I’d be lying if I said that didn’t make me happy too”. Between the bitterness and newfound happiness, Ritter documents a long road to recovery experienced by many of us and perfectly captures that turning point where you realise “Yeah, I’ll live through this” on ‘Joy To You Baby’.

What are your favourite confessional albums? Let me know in the comments below.