Tag Archives: Jim James

Daniel Martin Moore and Ben Sollee – Dear Companion

Daniel Martin Moore and Ben Sollee - Dear CompanionDaniel Martin Moore and Ben SolleeDear Companion (Sub Pop)

“This is only a song / It can’t change the world…” Probably not, but it sure is making me happy right now.

I don’t know much about Daniel Martin Moore and Ben Sollee except that they’re both from Kentucky and they’re opposed to a type of mining that damages mountains. A part of the proceeds from this album goes to helping that cause.

I don’t pick up on a very strong protest vibe from Dear Companion, but what I do hear is a fine collection of acoustic songs (guitar and cello), sung in gentle, comforting voices with pretty harmonies.

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Ben Sollee and Daniel Martin Moore – “Something, Somewhere, Sometime”

MP3: Ben Sollee & Daniel Martin Moore – “Something, Somewhere, Sometime” from Dear Companion, due February 16 on Sub Pop.

By the time you realize how good this song is, it’s over. So you have to play it again. And maybe even one more time. It starts out simple with an acoustic guitar and Appalachian harmonies, but it keeps building and driving and getting better. And then it stops. Two and a half minutes. Leaves you wanting to hear more.

Produced by My Morning Jacket‘s Jim James (a/k/a “Yim Yames” if you’re feeling ridiculous). And a portion of the proceeds from the album will benefit Appalachian Voices, an organization devoted to ending mountaintop removal. How about that!

Ben Sollee Daniel Martin Moore: iTunes, Amazon, Insound, wiki

Acoustic Bright Eyes Disappoints

Conor Oberst, Omaha wunderkindAn Evening of Solo and Collaborative Performances with Bright Eyes, Jim James, and M. Ward

Loew’s Theatre, Jersey City, February 24, 2004

The idea looked good on paper.

Bright Eyes, Jim James (of My Morning Jacket) and M. Ward have hit the road with their iconic indie-rock melding of the minds. Conor Oberst, the face of Bright Eyes and oft-argued about troubadour, headlined the show at the grand Loew’s Theatre—a fully restored theatre from the 1920s that was holding its inaugural event on this night. Much of my criticism of the show, however, falls on Oberst’s shoulders. For one, although I’ve never been one to only want to hear the “hits,” the Omaha wunderkind only played two tracks from Lifted, his most popular and undoubtedly best album. “Waste of Paint” came at approximately the halfway point of Oberst’s set and was a shot in the arm for what had been a slow, meandering selection of older tracks. Its arrival was greeted warmly, receiving the biggest ovation of the night from a crowd seemingly screaming for more tracks from Lifted.

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