I've been a fan of Sophomore Lounge for years. From Bill Direen to Huevos, Ryan Davis' label (originally in Louisville, now in Jeffersonville, Indiana) has been releasing diverse sounds for going on 20 years.
It seems appropriate that the label's breakout release would feature Davis (also in State Champion) himself under the name Ryan Davis & the Roadhouse Band. Pitchfork reviewed it on November 3rd and gave it an impressive 7.9. This LP brings to mind Wilco, The Jayhawks, Son Volt and The Silos. One of the fans who bought this wrote, "David Berman was right when he called Ryan our [Louisville's] best living lyricist."
Joan Shelley is a guest vocalist. Check out her split single with Myriam Gendron on No Quarter.
237: Various Artists // Howl...A Farewell Compilation of Unreleased Songs
Howl...A Farewell Compilation of Unreleased Songs
Various Artists
1994, Glitterhouse
Released in 1994 by German indie label Glitterhouse as a double 10”, Howl…A Farewell Compilation of Unreleased Songs collects 18 songs by a real odds and sods assortment of Americana, indie folk, and alt. country acts. I’m not super-familiar with Glitterhouse beyond the fact that they were Sub-Pop’s European distributor during that label’s 1987 to 1995 grunge apex. The patchy history recounted on the Glitterhouse website indicates they were making a turn towards singer-songwriter fare at the time the Sub-Pop relationship petered out, and I can imagine this comp serving as a sort of soft launch of the label’s new direction. I’m not sure how many of these artists were signed to the label directly, though presumably Glitterhouse distro’d a number of them. Iin any case, it makes for a great sampler of some of the better artists of the time who operated at the meeting place of roots and alternative music, many of them still active today, and mostly still lesser-known outside of connoisseur circles.
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The best-known act on the comp today is easily the Mountain Goats, which I doubt anyone would’ve predicted in 1994—their contribution, “Against Agamemnon,” is typical of John Darnielle’s early direct-to-boombox sound, a bare sketch that refers obliquely to Greek mythology but could as easily describe waking up with a nosebleed on an existential camping trip. Steve Wynn (ex-Dream Syndicate) pops up in the midst of his wandering ‘90s period, and we’ve also got a desert jazz instrumental version of “Route 66” from the venerable Giant Sand, which anticipates the sound members John Covertino and Joey Burns would refine after departing to form Calexico. The next tier of notability down would be… I guess Vic Chesnutt, the devastating Georgian songwriter who offers a moving cover of Yoko Ono’s “Goodbye Sadness”; long-running heartland groovers the Silos (featuring Vulgar Boatmen founder Walter Salas-Humara) with the demo “Nothing But You”; alt. country forerunners Freakwater with their woozy “Lullaby”; and venerated songwriter Victoria Williams, who unfortunately contributes an irritating rendition of “Feed the Birds” from Mary Poppins.
Howl doesn’t transcend its times, but if you like this era of weird Americana, it makes for good company. You’ll likely pick up a band or five who’ve slipped your filter that you’ll want to check out (my pick being Chicago’s Souled American, whose woeful “Suitor’s Bridge” would see eventual re-release on their final record Notes Campfire).
I have always been fascinated by Joanna and Chip Gaines and their story. Their Fixer Upper show was one that I loved to watch and they just have a good back story, in my humble opinion. I recently listened to Joanna’s latest book, The Stories We Tell, and enjoyed learning more of her story. I think she and Chip have a pretty amazing story and I admire their ability to guard their family life and…
My favorite thing about Silo is how cozy everyone looks and how everyone just has really nice sweaters. Was the amount of knitwear written into the show (since the book was Wool) or was that fully a costume department decision?