Late Night Listening: Robbie Fulks, Gone Away Backwards

Robbie Fulks - Photo credit: Dino Stamatopoulos

Robbie Fulks – Photo credit: Dino Stamatopoulos

I don’t know what it is about this record that encourages listening to it in the middle of the night, but that’s when I keep coming back to it: at the end of the day, and in the late/small hours.

I have a suspicion it might be the fiddle, though. I do like a fiddle late at night. (Actually I like a fiddle all the time.) And the lyrics, which have some bite, a little more so than country lyrics usually do.

And this is definitely a country record. Its roots are sunk deep, way past the current topsoil of pop-country, into the bedrock of the open fields and rocky hills of the genre.

It’s also a little bit of commentary on how the genre of country has changed, along with the culture, and, in the case of That’s Where I’m From and Sometimes The Grass Is Really Greener, how where you are from makes you who you really are.

Which, as I prepare to go back to the place where I grew up to visit with people I haven’t seen in 20 years, is probably the real reason I keep circling back to listen to these songs again and again.

It is, in summary, the kind of record that encourages both serious thinking and singing along.

Here are two tracks from the record, so you can hear what I mean:

Long I Ride is a meditative examination of bad decisions with fast-picking and harmonica:
 

 
When I Get to The Bottom is a post-break-up “screw you” song, and I love it:
 

Special memo to Cleveland: Mr. Fulks is doing a record release show at the Beachland Ballroom on September 29, 2013. Get on down there and see him.

Late Night Listening: High Lonesome Ark, Sloppy Gospel

When I created the Late Night Listening category, it was intended to be – for lack of a better metaphor – my own personal 120 Minutes file: a home for things that might be fleeting, might be soothing, might be weird, might be soothing and weird. The blogging equivalent of sitting in the garage twiddling radio knobs just to see what might be out there.

The latest entry into this file is Sloppy Gospel, from High Lonesome Ark, a band which popped into existence last week and is the latest project of Martin Bemberg (Memphis Pencils), along with Dick Darden (drums), Sean Johnson (rockin’ rhythm) and Cody Troglin (dreamy lead, pizza)

Or as they further expanded on it: Nasty Marty Bemberg is bass and baritone, Cody Pizzaboy Trogdog the reverie on strings, while SeanJohn Hard Like A Johnson just rocks all six real hard, and Slick Dick Darden straight up brings it on the pounders.

At present they have turned six songs loose upon the world. I am going to share two:

First, the title track, Sloppy Gospel, because it was not at all what I was expecting, but I wasn’t mad about that, and, also, it persuaded me to jump the rest of the way down the rabbit hole and see what was at the bottom.
 

 

And second, Take You Home, which is more of a mellow groove.
 

Late Night Listening: Goldboot, The Electric Eccentric

April 2003

I’m in library school. Spring Break is coming. We’re all too old and over it but talking about our plans anyway.

“Vegas,” I say, trying to keep a straight face, because I am living a cliché. “I’m going to Vegas.”

They widen their eyes and make appreciative noises and ask For what?

I pause, organizing all the possible explanations. A music festival, I say, finally, because that’s mostly what Convergence is. There will be a fashion show and a lot of other shenanigans, I will hang out with a friends from home (by which I mean New York) and friends from afar and maybe even some people I have known for years but never met, but basically it’s a music festival. It’s close enough.

A few days later I finish my last exam or paper or whatever it is and pick up my bag and backflip myself into the slipstream, destination: Nevada. When I get there I am surprised that there really are slot machines in the airport, and that I can, in fact, see the lights of the Strip glimmering in the distance.
 

 
Unlike Pittsburgh, where I have been living, Vegas in April is hot and sunny. And now full of people in black. We learn not to make metal fingers at each other because apparently it looks like a gang sign and attracts unwanted official attention. This cuts our ability to communicate in public by about a third.

While the others are sleeping or primping I go to a fine art museum in the basement of a casino (The Bellagio?) because I have museum design homework to do and no car and I can walk there from The Flamingo. I discover that this museum is the only place in the whole town where there are no slot machines. The silence is both blessed and deafening. The art is a respite from the non-stop glitter, blinky lights and vast tides of humanity upstairs.

I also go to Siegfried and Roy’s Secret Garden and Dolphin Habitat because because I like tigers and dolphins and also it is quiet there.

The fake Rialto in the Venetian gives me déjà-vu induced vertigo.

I decide I may be constitutionally unsuited to Las Vegas.

 

 
In the evenings we go out.

Convergence is a national event. People come from everywhere, often from places with no clubs and no scene, where they are all alone, and the only other goths they know are the ones that live in their computers. But the city mice come too. This year the LA goths have shown up in force. They are all impossibly thin and have perfect teeth and remind me vaguely of preying mantises.

At one point I repair to a handicapped stall with a friend so she can fix my corset, because I’m wearing it upside down. She knows because she made it.

Later that same evening I hide in a different stall to have a five minute meltdown because everyone has one Convergence blow up in their face, and this one is mine.

 

 
At some point during the weekend I end up gaffa-taped to a slot machine. I am wearing a Poison tank top and maybe a skirt covered in tiny silver bells and am completely sober. I am with other people. We’re waiting for someone, losing nickels to kill time. Someone we vaguely know drifts by and they have gaffa tape in their pocket, because of course they do, and the next thing I know I’ve been affixed to a slot machine.

I don’t work too hard getting free because I don’t care that much and also I think it’s funny. Eventually our straggler appears and we leave and go to find food. I eat terrible cheesecake somewhere in deep in the recesses of a casino.
 

 
On Sunday, I go to mass by myself, because it’s Easter.

Church in Vegas is more sedate than I expected it would be. The palette is sandstone and cool blue, very 1970s. It makes me wonder what it would be like to live in Vegas full time, and go to that church every week.

On Monday I leave for Los Angeles, to discover that even non-fancy people live in apartment buildings like the one on Melrose Place and to visit dinosaur bones on purpose and the beach by accident.

Then I take the train most of the way home. I take a lot of pictures I will later label “maybe Utah” and discover that Texas goes on forever, even longer than Montana, which I did not think was possible. I re-read Infinite Jest while the ladies around me keep up a low hum of complaint about not being able to smoke.

Pittsburgh, when I finally get back there, is kind of chilly and still wearing the bright bruised colors of a rainy spring, but I am glad to see her just the same.

2013

GoldBoot is Logan Lanning, Bobby Lucy and Jules Manning, and they actually do live in Vegas full time. You can buy their tunes here.

Late Night Listening: Glen Hansard, The Parting Glass

 

A wonderful lullaby, here’s Glen Hansard singing the traditional Irish song “The Parting Glass”. Hansard has said he might like to record an album of traditional songs someday, and I hope he does. His strong, pure delivery makes me want to dig out my Dubliners album.

 

The Parting Glass (trad) performed by Glen Hansard from Conor Masterson on Vimeo.

Late Night Listening: Fiona Apple, Every Single Night

Or Late Night Viewing, I guess. Viewing and listening. This is the video for her new single, Every Single Night, from her new record The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do, which will be out June 19.

All I’m going to tell you is she briefly wears an octopus as a hat, there are giant snails, and the power of her voice remains undimmed by time. Also, be sure to hang on to the end. The last frame is the best part.

 

Fiona Apple - Every Single Night

Late Night Listening: Danny Fujikawa

Late Night Listening: This is what I’m putting on at the end of long days in a summer that is going to be chock full of long days. It’s also what I’m listening to while I’m making flash cards for bar review.

Some of it will be soothing, some of it will be weird. Some of it may be soothing and weird, since I’m into that kind of thing. In any case, I’m listening to it and I like it, so I’m going to share it with y’all.

Today in the category of soothing and also delightful: some new(ish) tracks from Danny Fujikawa, formerly of Chief, which represent one of his many on-going projects. These are rough mixes, but I’m fond of them anyway.
 
The newest one; one of the lyrics is True love is a lie, a sentiment which warms the cockles of my blackened heart:
 
True Love 2.1 by DannyFujikawa
 
This one is actually my favorite, shhhh, don’t tell any of the other songs. Also, I kind of wish I had a car so I could drive around with the windows rolled down and this tune turned up really loud:
 
Ballad of Prince Harry by DannyFujikawa
 
This one is heavier on the guitar, and, actually, just heavier in general. Don’t let the bouncy tune fool you, this is a sad song. (Click on the song title to get to the lyrics.) (GO TEAM LINER NOTES!)
 
The Gods Must Be Crazy by DannyFujikawa
 
Because tiny blackened heart or not, I’m also always on Team Nerds In Love:
 
Science Girl by DannyFujikawa
 
And finally, have some reverb-dusted choppy synths:
 
We Aren’t We In Love by DannyFujikawa