If folk music’s prime currency is authenticity, Langhorne Slim might well earn some crooked eyebrows. Classically trained at the SUNY-Purchase conservatory, Sean Scolnik donned loafers and floppy hat and named himself after his hometown in the tradition of all those rail-hoppin’ ramblers who used to do that. The blogosphere gobbled up this aesthetic and and have cast Slim in the role of Guthrie-Dylan inheritor he came dressed to play.

Really, Slim doesn’t make music like that at all. His music is much more poptimistic, with an evangelical energy that has led some critics to call his music religious (and not in the way Bob Dylan equated Woody Guthrie’s music with religion). Slim’s lyrics lunge, albeit passionately, with a blade that is shinier than it is sharp. Cat Stevens, with his spiritual conceit, is an apter analog—or the Avett Brothers, with whom Slim has toured.

Read More “Tonight: Langhorne Slim @ Rock ‘N’ Roll Hotel w/ Dawes” »

To judge by their tightly wound, country-tinged pop songs, Olivia Mancini and the Mates aren’t shorting their craft. But even the most polished band needs its R&R, and this local act—featuring two former members of Washington Social Club—loves to curl up with a good book. That’s the impression, at least, left by “Graphology,” a rollicking gem from the group’s new album in which Mancini lists maybe a dozen book titles. Apparently, her bookshelf (including 50 Years of Fender, 1776, and Bob Dylan’s Chronicles) is pretty heavy on nonfiction, although some Dashiell Hammett sneaks in (noir does not make its way, it only sneaks). Pretty eclectic stuff: too bad, then, that Mancini concludes each verse with “those are not enough to make me smart.” But we’ve all been there.

Olivia Mancini and the Mates perform tomorrow at the Black Cat with Stripmall Ballads. $8. You can download “Graphology” at the group’s Web site. Here’s another song:

More literary pop songs after the jump, including a nonsensical (what else!) Pynchon tribute, a lucrative (?!) Brontë homage, and Dan Bejar being Dan Bejar!

Read More “Clip Job: Five Songs About Books” »

Thanks in part to Don DeLillo’s 1973 novel Great Jones Street, it didn’t take long for the rock-star-toiling-away-in-seclusion narrative to go from the stuff of critical legend to obvious fodder for parody. Nevermind that two years later saw the release and instant canonization of Bob Dylan and the Band’s long-buried The Basement Tapes—the inspiration, in fact, for the DeLillo character Bucky Wunderlick’s “The Mountain Tapes.” And so for listeners, the brilliant, hermetic artist has persisted, both as a reductive, suspect concept and as an undeniably seductive one. Listed here, some examples of the latter.

The D.C./Baltimore psych-folk act Le Loup retreated to a cabin in North Carolina to record much of its latest album, Family (out now on Hardly Art) and the result is druggy, country-fried, and poppy. Take “Grow,” which sports what might be the best pairing of Beach Boys harmonies and the “Be My Baby” beat since, well, the Beach Boys. But the real innovation here is space: Where past Le Loup songs were concise and linear, Family’s breathe and frolic and expand. The band—which performs Saturday at the Black Cat with Pree—recently recorded a session for All Our Noise. Check it out:

More records made in wooded seclusion after the jump: Reluctant backwoods Svengalis, some latter-day Johnny Cash, and brassy mountain ditties!

Read More “Clip Job: Five Records Made in Cabins (Other than Bon Iver)” »

Because I wrote about Title Tracks’ versions of songs by The Flamin’ Groovies and The Merseybeats earlier this week, and because Bob Dylan’s truly atrocious new disc of Christmas standards leaked yesterday, I’ve been thinking a lot about covers.

Let’s put aside the illustrious history of ill-advised tributes (read: the entire Me First and the Gimme Gimmes oeuvre). A good cover can both satisfy a simple, dorky impulse—to hear one artist you admire spin another in an interesting way—and prove rather instructional. For example, it can tell you that Title Tracks frontman John Davis is probably a sucker for semi-obscure gems (he is), as well as a student of infectious, pop-classicist hooks. With that in mind, I’ve collected some recent covers by local artists.

My short list, after the jump, is fairly folk- and indie-centric, and by no means complete. Tell me what I missed in the comments.

Read More “Your Local Faves, Playing Other People’s Songs” »

When Levon Helm and The Band hosted a five-hour send-off concert in 1976, it was a musical event of mythic proportions. The Band and its guests—among them Bob Dylan, Neil Young, and Joni Mitchell—were torchbearers of the American folk revival. And though it might be overly dramatic to say the movement “ended” with The Last Waltz, it was just a few years later that folk, blues, and gospel-soul began yielding pop to the second British invasion, arena rock, grunge, and hip-hop.

It would be likewise overdramatic to equate Sunday’s Route 29 Revue at Merriweather to The Last Waltz—certainly in terms of importance. But those attendees who’ve made a religious custom of watching the eponymous Scorcese film could not deny the aesthetic similarities. Old Crow Medicine Show, Iron and Wine, the Felice Brothers, and Grace Potter and the Nocturnals are very much torchbearers of the second folk revival, the one that began in the mid-’90s and has broadened in the new millenium thanks to the Web revolution and the consequent fragmentation of pop. Presiding over Sunday’s festival was Helm, the godfather.

Read More “‘We’re All In This Together’: Route 29 Revue @ Merriweather” »

Friday

• The Footprint in Hip Hop Tour: Method Man & Red Man, Ghostface Killah, Duo Live. 9:30 club. $35. All ages.
• Sophia Bass, Ruthi & the Tracers. Bangkok Blues. Call for price.
• Jimmy Thackery & the Drivers, Lil’ Ed & the Blues Imperials. Birchmere. $25.
• Head Automatica, Cubic Zirconia. Black Cat. $15. All ages.
• Carol Bui Butterflies, Impossible Hair, US. Comet Ping Pong. All ages.
• The Mass Shivers, The Alphabet, Hello Babies, Greenland, Wild Fictions. D.C. Mini Gallery. $5. All ages.
• Abigail Williams, Goatwhore,  Daath, Abysmal Dawn, Success Will Write Apocalypse Across the Sky, Fallen Martyr, Nightmare Ritual. Jaxx. $12/$15. All ages.
• The Winter Sounds, Go Home Robot, Achtung Panda. The Red & The Black. $8. +21.
• Bob Dylan. Ripken Stadium. Call for price.
• Bonjour Ganesh!, Ghost Light, The Mean Ideas. Rock and Roll Hotel. $10. All ages.
• Project Natale (Fri. & Sat. shows). Twins Jazz. $15.
• Sunsets with a Soundtrack: The U.S. Army Ceremonial Band. West Steps U.S. Capitol. Free.
• Girl Loves Distortion, Trophy Wife, Three Lexington Arrows, Fangs Out. Velvet Lounge. $8. +21.
• National Symphony Orchestra: “The Wizard of Oz.” Filene Center at Wolf Trap. $20–$48.

Read More “Weekend Music Round-Up” »

I’ve come to be untroubled in my seeking
And I’ve come to say that nothing is for naught
I’ve come to reach out blind, to reach forward and behind
For the more I seek, the more I’m sought

These lyrics, from Joe Pug’s “Hymn 101,” might as well be the tagline for Pug’s current year-long tour, which has taken him from tooling around the local circuit in his hometown, Chicago, to tailing alt.-country legend Steve Earle’s tour bus on a swing down through Texas and back up toward the Great Lakes. From there, he’ll take a brief sojourn to Norway then take up with Josh Ritter for an upper-Midwest tour before heading west for festival season. “I rent a room in Chicago,” he tells me Tuesday after a set in Richmond, “but I’ve probably slept in it about 20 times this year.”

Read More “Seeking Joe Pug: A Discursive Interview” »

Thursday June 11th offers a ton of choices for live music fans at night, and a  fascinating lunchtime event as well.  I will start with the latter. John Cohen, a founder of the old-timey string band The New Lost City Ramblers, an early photographer of Bob Dylan and others, and a producer of unique rural American folk and blues singers, will be speaking from noon to 1 at the Mary Pickford Theater on the 3rd Floor of the Library of Congress’ James Madison Building on Independence Avenue SE between 1st and 2nd Streets.  His presentation is billed “The High Lonesome Sound Revisited: Documenting Traditional Culture in America.”   “The High Lonesome Sound” is Cohen’s 1963 documentary film that offers the songs of Appalachian miners, farmers, and churchgoers. The flick also spotlighted banjo picker Roscoe Holcomb. 

Read More “A Music Packed Thursday-High Lonesome Sound Lecture & Lots of Gigs” »

While Screen on the Green hangs in limbo, head to a slightly smaller green in D.C.’s northeast quadrant for some barbeque, dance jams by Fatback, and a summer full of rock docs. Tonight, the NoMa (north of Massachusetts Avenue) Business Improvement District hosts Martin Scorsese’s 2005 film No Direction Home: Bob Dylan, the first in its free 2009 Summer Screen series. This year’s theme: “Music in Pictures.”

Read More “NoMa Summer Screen Kicks Off Tonight” »

Country musician Steve Earle once famously pronounced Townes Van Zandt “the best songwriter in the whole world, and I’ll stand on Bob Dylan’s coffee table in my cowboy boots and say that.” So how come the only people who ever give Townes his propers are his contemporaries and the odd independent filmmaker? Maybe because even when started started writing iconic country-folk standards, he stayed holed up in a tin-roofed shack outside Houston, planting flowers and playing to dive crowds. Maybe because his songs usually only became famous after being covered by other, more entrepreneurial country stars. Or maybe because his ambling melodies have been ground to grains beneath the tire treads of the endless Chevy commercial that is modern country music.

Earle has not forgotten Townes, though; and he’s doing his best to make sure the rest of us don’t either. His latest LP, Townes, is a 15-song memorial to his mentor. The album revisits some of Townes’ most characteristic tunes–including “Mr. Mudd and Mr. Gold,” which was the first Van Zandt song Earle ever played (he did it the night they first officially met, to stop Townes from heckling him), and “To Live is to Fly,” enduring ballad that doubles as the late singer’s epitaph.

Read More “Album Review: ‘Townes,’ by Steve Earle” »