The Breeders - Joanne (Filmed at Electrical Audio, Chicago)
All Nerve is out March 2 on 4AD. “Joanne” is not on the album.
“Joanne” is one of my favorite songs of all time. I first heard it back in college when Leppotone supergroup Twister covered it live at Club Soda in Kalamazoo. I was already a huge Monkees fan but had not yet discovered the solo work of Mike Nesmith. It quickly became an obsession as I gathered up as many Nez albums as I could find in the used record bins.
Just recently, Nesmith reformed his “First National Band” and played some shows in California. Nez is the only original member since pedal steel virtuoso Red Rhodes and bassist John London are dead and drummer John Ware was not interested. But it’s still awesome that Nesmith is back into playing the style of country rock that he helped create years before Glenn Frey ever met Don Henley. (Just listen to “Papa Gene’s Blues,” which Nez wrote and produced for the first Monkees album in 1966.)
Anyway, Kim Deal does a fine acoustic cover, recorded — and apparently filmed — by Steve Albini at Electrical Audio in Chicago. And while “Joanne” is not included on the upcoming Breeders album, it does appear as the b-side of the “Wait in the Car” single that is included in the vinyl bundle from 4AD.
Below are the things we’ve posted to Twitter recently. In reverse chronological order, just like Twitter… We’re reposting 196 tweets this time with a total of 109 links to stuff that (mostly) didn’t end up on GLONO.
Also included in this round are Phil’s comments on shows in Portland including the Maldives, Black Whales, the Jay Farrar/Ben Gibbard show he later reviewed, and the Motels! And my comments on “American Idol” and Conan O’Brien’s final “Tonight Show” that featured Neil Young and a group cover of “Freebird.” Oh, and lots of bitchy re-tweets from people who actually bothered to watch the Grammys.
# Do it! RT @slicingeyeballs: Book publisher to #morrissey: Please, please, please let me get what I want: your memoirs. http://ow.ly/12JHF about 11 hours ago
# Only as amazing as the songs and performances. RT @adamficek: How amazing would it be to record the next babyshambles album In Russia? about 11 hours ago
# Hey @rustyrockets word of advice, don’t wear boots with tapered pants. There’s a reason we have a “boot cut” option: http://ow.ly/12LWa about 13 hours ago
# Interesting. RT @iancr: Subscriptions are the New BLACK. (why Facebook, Google, & Apple will own your wallet by 2015): http://awe.sm/50MBA about 15 hours ago
Lots more after the jump, and you might consider following us on Twitter if you want to keep up with this stuff as it happens…
According to its website, the Wonder Ballroom in Portland was built by The Ancient Order of Hibernians, “a group committed to immigration reform, civil rights for those of Irish descent and the preservation of the old Irish culture.” It opened September 10, 1914 and over the next 96 years passed through a variety of hands and served a variety of services. It was an American Legion, a Catholic Youth Center, a day care center, and now sits on the National Register of Historic Places. Fully rehabbed and restored, the Wonder Ballroom is a glimpse of the past struck new. What better place to see and hear Jay Farrar and Ben Gibbard translate Jack Kerouac to an audience of skinny jeans and beard scratchers?
As is known around here, I am a big fan of this album Farrar and Gibbard put out. I love everything about it as a modern musical interpretation of Jack Kerouac‘s most heart wrenching novel. It features two songwriters so steeped in illusion and imagery that you might guess they’re lost beat writers caught in a worm hole and trapped 60 years from their homes. As an album, One Fast Move Or I’m Gone is about as perfect as they come for me. It has lyrics I can pore over and reinterpret and ponder, it has music that strikes me dumbfounded on a regular basis. It simply doesn’t get better.
If someone had asked me what Death Cab for Cutie’s Ben Gibbard and Son Volt’s Jay Farrar have in common I might have answered, “They both have unique voices?” As it turns out they have much more in common, including a shared passion for Jack Kerouac and it appears now, co-writing credits on the soundtrack for an upcoming bio on the king of Beat writers.
Gibbard and Farrar were approached by filmmakers in 2007 about writing music for the film One Fast Move or I’m Gone: Kerouac’s Big Sur (IMDB), due on October 20. According to Farrar, approximately 90% of the soundtrack’s lyrics draw directly from Kerouac’s poems. One wonders how the filmmakers landed on these two as writing partners, a question that isn’t immediately answered by Gibbard.
“I’d never met Jay before, and we found ourselves in a studio with a film crew, just blinking at each other, diving right into recording sessions,” Gibbard told Billboard.com. “In that first session, we did 3 or 4 songs together. We had the trepidation of not really knowing each other; getting to know each other in real time as we were recording made for a beautiful recording.”