Tag Archives: Magnolia Electric Company

Songs: Ohia – “Magnolia Electric Co.” 10th Anniversary

Jason Molina
Jason Molina

Jason Molina’s life ended tragically this past March after an extended battle with severe alcoholism. With him closed the door on the possibility of any future Songs: Ohia or Magnolia Electric Co. albums; the last thing that we heard from Molina was his collaboration with Will Johnson from 2009.

His legacy will certainly live on through his prolific output as a songwriter, most notably the final Songs: Ohia album (or the first Magolia Electric Co. release, depending on how you would like to think about it). That album was released 10 years ago, and now Secretly Canadian is giving it the recognition that it deserves with a special deluxe edition release.

To me, the album is masterful from top to bottom. His deeply affecting voice that trembles alternately with sadness and confidence, the entire album is like that in a way. There are lyrics that, depending on from which angle you consider them, are either inspirational or, especially in light of his recent passing, devastating. Take, for example, a lyric from the album opener “Farewell Transmission” in which Molina intones “the real truth about it is, no one gets it right. The real truth about it is we’re all supposed to try,” a line that is accompanied by a  pedal steel, pouring all the sadness in the world into the line.

For the most part though, the songs can be heard as hopeful. Molina sings about wanting to make changes, and wanting to just hold on. They all teeter on that edge of hopeful and hopeless. “Almost Was Good Enough” begins with an admission, still referring to trying, always trying. “It’s been hard doin’ anything. The winter’s stuck around so long. I kept tryin’ anyhow, and I’m still tryin’ now, just to keep working. I remember when it didn’t used to be so hard, it used to be impossible. New season has to begin, I can feel it leanin’ in, whisperin…”

These themes of trying and still needing to try harder; the optimism of getting better, mixed with feelings of inadequacy; still not being good enough. The endless struggle and battle with this inner unrest….

“Almost no one makes it out. Almost no one makes it out.”

…and knowing the whole time how it is going to end. But he still holds on to that hope, at least through this album. Despite almost no one making it out he then states proudly “you’re talkin’ to one right now.” Again, a line equivocally interpreted as being one of those who gets out, or one of those who doesn’t. Sadly, any possible ambiguities have been wiped clear from this lyric. Sadder still is the sorrow placed out front on the closing track “Hold on Magnolia.” Molina’s voice soars as the band grows behind him, unable to drown out the complex mix of emotions being belted forth from his powerful baritone.
 
“Hold on Magnolia to that great highway moon No one has to be that strong
But if you’re stubborn like me
I know what you’re trying to be
Hold on Magnolia, I hear that station bell ring
You might be holding the last light I see
Before the dark finally gets a hold of me
Hold on Magnolia, I know what a true friend you’ve been
In my life I have had my doubts
But tonight I think I’ve worked it out with all of them
Hold on Magnolia to the thunder and the rain
To the lightning that has just signed my name to the bottom line
Hold on Magnolia, I hear that lonesome whistle whine
Hold on Magnolia
I think its almost time”
 
This album, if you haven’t heard it, needs to be heard. It’s sad, and tragic and beautiful and powerful and everything that any album should be.
 
Songs: Ohia – “Farewell Transmission”

Album Review: Bill Callahan – “Dream River”

Bill Callahan - "Dream River"
Bill Callahan – “Dream River”

The first time that I heard Bill Callahan’s music was in 2011, not too long after the release of “Apocalypse,” the album that (to me) featured the song “America!” That initial listening experience was something that I won’t soon forget. There was something about Callahan’s voice that was shocking to me at first. It seems strange to even say that because he has one of those unassuming voices, nothing overtly shocking about it, nothing over the top etc. Maybe that was just it for me. Maybe I wasn’t used to hearing such a bare, unencumbered voice.

And that quality of his voice is what the music is all about. There is a solid confidence and honesty present in all of Bill Callahan’s songs. His rich baritone sits somewhere between singing and speaking at points. It’s placed way up front in the mix, I don’t want to say invading your space, but it’s definitely placed perfectly to grab your attention. When you listen to Bill Callahan, he is speaking directly to you. There isn’t any echo placed on his voice, it’s stripped bare. That was what shocked me the first time I heard him. He is not hiding behind anything. If he were to sing a wrong note (he doesn’t) it would be right out there in the open, there is no room for mistakes in his recording style. There’s confidence without bravado. It’s modesty more than anything.

The songs themselves have that honest characteristic to them as well. In “Small Planes” he repeats “I really am a lucky man” in between short verses where his voice is heard to trail off at the ends of phrases, giving the impression that he is lost in thought, or maybe even thinking out loud. This is a common quality of his music; his songs are able to portray a sense of thought and thoughtful consideration.

Understated guitar, minimal percussion and most importantly his voice, that is what the sound is all about. Callahan’s music follows his words, and his voice is the anchor of his entire sound.

Though, it’s not always 100% understated on “Dream River.” The track “Summer Painter” builds to a somewhat loud and chaotic middle section, which is surprising coming from a song that begins with guitar and long, low flute tones. “Rich man’s folly and poor man’s dreams, I’ve painted these” he sings, later finishing the thought with “the rich or the poor, who am I working for?” There are so many moments of quiet contemplation and soul searching on this album. More so than the songs on “Apocalypse” that seem to come more from an observers perspective, from a man surveying his homeland and doing such in a way that only a folk storyteller can. Where “Apocalypse” looks out across the vast country, “Dream River” turn decidedly inward.

On “Winter Road” Callahan sings of persistence and learning to “just keep on.” When the music grows and starts to sway with his voice it’s quite a moving experience, but soon the guitar takes a bit of a turn, throwing everything into a bit of a different direction with a simple descending minor 6th. The perfect depiction of the song’s meaning. This, more than anything else on the album (though they all do to a degree) recalls the sound of Jason Molina’s Songs: Ohia/Magnolia Electric Co. album. The somber yet hopeful vocal, the violin that provides periodic commentary before turning into faithful accompaniment, it creates a very similar atmosphere. Though the songs on “Dream River” come more from a place of introspection and honesty followed by hope.

The album is out now on Drag City. Check out the tracks “Small Plane”and album closer “Winter Road” below and follow the links to purchase “Dream River.”

 
Bill Callahan – “Small Plane”
08 Winter Road
 

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Album review: Luke Roberts – "The Iron Gates at Throop and Newport"

Luke Roberts’ “The Iron Gates at Throop and Newport” is, on its surface, a collection of heartfelt emotional explorations. Continued listening reveals a deeper folk and country influence. Roberts’ delicate and finely crafted arrangements are spare one track, fleshed out the next, always finding the perfect balance of instruments to accentuate his plain-spoken lyrics.

The first thing that struck me upon hearing the opening seconds of “I Don’t Want You Anymore” slow, droning violin’s delicate vibrato and spare guitar chords was the way that it reminded me of Jason Molina’s work with Songs: Ohia’s final album “The Magnolia Electric Company”. This track opens like a country ballad, heartache weighing heavy in Roberts’ voice. The violin comments on the emotive quality of the lyrics in its moaning bleat that contributes a deeper level of emotional interpretation. Like many of the songs throughout the album this is a sparse voice and guitar affair, though Roberts’ intricate picking can weave a complex harmonic fabric with a great deal of interestingly voiced chords on tracks like “Second Place Blues” and “Cartier Timepiece”.

There are only a few tracks assisted by a full rhythm section, moving the songs from the Nick Drake territory of “Spree Wheels” towards the aforementioned Magnolia Electric Co. sound. Luke’s voice is clear and low, similar to Bill Callahan, conjured from a very personal place as evidenced from the first person perspective of the lyrics. Though even without the aid of a full band Roberts has a skill in filling the spaces. The excitement in “Lost on Leaving” rolls forward with harmonica and piano in addition to broad guitar strumming and the most hopeful words sung on the album: “With everyone smiling at me”. It’s impossible not to see Luke Roberts himself singing through a smile as the words cross his lips.

Luke Roberts - "The Iron Gates at Throop and Newport"
Luke Roberts - "The Iron Gates at Throop and Newport"

“Will You Be Mine” is strummed brightly as Luke’s voice cracks. He follows the line “I need you to call” with an extended pause that puts us as listeners in his place, waiting and hoping in desperation for fulfillment. The track consists almost entirely of two chords, but he shows us what can be done with only two chords in this track and the next track that is equally minimal in its harmonic changes: “Spree Wheels”. In “Spree Wheels” the guitar sound morphs into a full ensemble with the lower strings sounding clear and round like an upright bass.

The way in which the songs are recorded brings the listener in closer. From the dry drum sound on “Old Fashioned Woman” to the sound of fingers brushing against the guitar strings as they are plucked, to the directness and clarity of the voice; this album is very present. It’s hard to hide mistakes in a mix like this, and that high-wire act of sorts is exciting to listen to. Luke Roberts is a confident performer who doesn’t disappoint on any of these songs.

Standing in sharp contrast to the laid back and stripped down nature of the majority of the songs is the arrangement of “Old Fashioned Woman” with its distorted lead guitar line that slices right through every other instrument in the ensemble with a slight amount of reverb and delay that comes off as an otherworldly sound amidst the repeated lulling finger picked steel string guitar. Adding to the colorful arrangement in this track is the simple 2-note piano line that gives a bit more depth, complexity and reinforcement to the guitar line.

With “The Iron Gates at Throop and Newport” the artistry and craftsmanship of Luke Roberts as a songwriter, and guitarist is truly on display. He successfully navigates a wide variety of sounds and textures to great effect throughout.

[audio:http://quartertonality.com/wp-content/uploads/2012/03/08-Lost-on-Leaving.mp3|titles=Lost on Leaving] [audio:http://quartertonality.com/wp-content/uploads/2012/03/06-Spree-Wheels.mp3|titles=Spree Wheels] Head to Thrill Jockey right now to pre-order the album. It’s set for release on March 20. And if you are planning on purchasing the album in the vinyl format (as I wholeheartedly suggest), Thrill Jockey says:
 The vinyl version of Luke’s debut Big Bells and Dime Songs sold out upon release, so do not hesitate.

Songs: Ohia – "Almost was Good Enough"

Songs: Ohia - "Magnolia Electric Company"
Songs: Ohia - "Magnolia Electric Company"

It’s been hard doin’ anything, the winter’s stuck around so long
I kept tryin’ anyhow, and I’m still tryin’ now, just to keep workin’.
I remember when it didn’t used to be so hard, it used to be impossible
A new season has to begin, I can feel it leanin’ in, whisperin’, “Nothing’s lonely now”
Nothing anymore in pain
A tall shadow dressed how the secrets always dress when they want everyone to know that they’re around, leanin’ in whisperin’ “my friend over there don’t know what he’s talking about”.
Did you really believe that everyone makes it out?
Almost no one makes it out.
I’m going to use that street to hide from that human doubt, to hide from what was shining and has finally burned us out.
But if no one makes it out how come you’re talking to one right now?
for once almost was good enough.

[audio:http://quartertonality.com/wp-content/uploads/2011/05/04-Almost-Was-Good-Enough.mp3|titles=Songs: Ohia – “Almost Was Good Enough”]