Tag Archives: public libraries

Hey Man (Now You’re Really Living): Discovering EELS

15 Oct

Mark Oliver Everett 2014

E: Singer/songwriter/beard model

Having written this blog for four years (thanks for the virtual trophy, WordPress!) I know I could get a lot more readers if I wrote in a more timely manner. I don’t do my statistics any favors by waiting days after a concert, or weeks after a book comes out – or years after an album is released – to share my opinions. Life keeps getting in the way of my incipient success as a writer, I guess.

Even if I was a little more mindful about building my platform, there is so much rock and roll out there it’s a miracle if I get around to listening to something once, much less discover an artist who inspires me to consume his entire catalog.

A miracle just occurred: now, more than two decades after his first recording hit the alternate airwaves, I am officially obsessed with EELS.

Mark Oliver Everett, known as E, is the singer/songwriter/multifaceted musician who created EELS as a catch-all name for the work he does on his own and with various musicians. (I’ve seen it written “eels” and “EELS” on his albums, in case you’re wondering.) E has 13 studio albums to his credit, and his songs have appeared in movie soundtracks ranging from American Beauty to all three Shrek pictures. If you know any of his work, it is probably this tune and nifty video from the 1996 album, Beautiful Freak:


He even had a great scene – and song – that ended up on the cutting room floor from This Is 40 (with lots of NSFW language, just to warn you). The guy has seemingly been everywhere and hiding in plain sight at the same time.

As usual, my discovery started in the library stacks, checking out Blinking Lights on a whim after seeing a reference to EELS in some magazine article. Here’s the description of the two-disc album off of the EELS official website:

It’s the most personal eels album since 1998’s ELECTRO-SHOCK BLUES. That album dealt with the nearly simultaneous suicide of Everett’s sister and terminal illness of his mother, from the subjects’ points of view. This album finds him a few years down the line, now battling some of the family demons himself, with the after effects of past tragedies becoming more of a personal issue in his adult life, sometimes fearlessly autobiographical, and other times built around the related stories of others.

Sounds like a total downer, right? Not really; well, not completely. While the material isn’t always a picnic, the music is consistently beautiful and original. E’s sandpaper voice conveys a great deal of warmth and humanity, and the varied arrangements include cameos from Tom Waits, Peter Buck, John Sebastian … and E’s dog. Listen to it with a strong cup of coffee or a stiff drink in hand.

I have barely scratched the surface of this artist. Lyrics are just beginning to get stuck in my memory, rhythms are resonating in my headphones. It’s that delightful stage of exploration where I know I’m onto something truly special and I can’t wait to see what I’ll find next.

To continue your own discovery, here’s a ramshackle version of one of his catchier tunes from Blinking Lights – enjoy!

See you on the flip side …

P.S. My very first Books & Authors event is Sunday, October 26 at Leon & Lulu’s in Clawson, Michigan. This is a great store for finding unique gifts, clothing, furniture and more – in a former roller rink, no less. See you there!

The Civil Wars: Ever so aptly named

6 Aug

Your public library: a rock and roll goldmine

Your public library: a rock and roll goldmine

Picking through the soundtrack CDs at the library is like panning for gold. If you patiently sift through the Glee compilations and dusty copies of Phantom of the Opera you’ll eventually find movie scores full of sensational rarities, intriguing covers of classic songs and great singles used to elevate crappy movies. (For instance, I got a copy of “ABC” by the Jackson 5 off the soundtrack of Clerks II.)

I hit a rich vein of nuggets tonight. I found both Breaking Dawn soundtracks, to my great delight. Trust me, I’m no Twihard – I’ve never seen so much as a screenshot from any of those movies. That said, all four Twilight soundtracks serve up an amazing range of pop and alt-rock that often is exclusive to the films; the Breaking Dawn discs feature everyone from Bruno Mars to the Noisettes. I also picked up the fourth collection from the HBO series True Blood. Unlike their Northwestern bloodsucking brethren, the musical tastes of these bayou-based immortals skew toward swampy blues and ominous reinterpretations of familiar material. Another intriguing find is Soundtrack for a Revolution from the PBS documentary about the music of the civil rights movement, interpreted for the film by artists like The Roots, John Legend and The Blind Boys of Alabama.

Then I hit the mother lode: the soundtrack to A Place at the Table, a documentary about hunger in America featuring original music by T Bone Burnett and The Civil Wars. I didn’t think there were more than a couple of albums by The Civil Wars, including the one debuting this week. Given their acrimonious and very public rift, there may not be any others.

The duo in 2011

The  duo in 2011

... and here they are just two short years later

… and again, just two short years later

The Civil Wars is John Paul White and Joy Williams, each of whom had been trying to make a go of solo music careers for several years before they first met in Nashville. Their voices are a perfect match, twining around each other like silk ribbons on the hilt of a Confederate sword. Their first album, Barton Hollow,  is spare and passionate, the aching romance of the music prompting most of the reviews to point out that White and Williams are happily married … to other people.

Together they hit it big fast: winning Grammys; touring with Adele; contributing a duet with Taylor Swift and another song to The Hunger Games‘ backwoodsy soundtrack (which I also picked up this evening); landing on many Best Albums of 2011 lists. And through it all, they were getting more and more distant from each other. By the time Rick Rubin convinced them to record a second studio album, they weren’t on speaking terms. White refuses to do any press for the album, leaving Williams to carefully speak only for herself about their current work and future prospects, as she does this week for Rolling Stone:

[S]he is hopeful, and ready to talk reconciliation. If John Paul and I can find a place to meet in the middle, I believe that there could be a future for the band,” she explains. “I would be open to having a dialogue … I would be open to trying to mend the bridges that I think we both burned. … It takes two.”

(For what it’s worth, Williams is the epitome of class in the interviews I’ve heard and read, never criticizing her former musical partner and asserting that she is as much to blame as he is for the band’s dissolution. How sadly rare is that?)

Given that they canceled last year’s tour while it was in progress, citing “internal discord and irreconcilable differences of ambition,” I’m not sure when they recorded A Place at the Table. I am simply grateful that they did. They blend well with Burnett’s acoustic guitar and his simple, direct style as a producer. As The Civil Wars’ battles continue, this is a chance to savor a little more of their music.

The saga of the band could be a movie itself one day. One wonders who would be featured on the soundtrack.

See you on the flip side …

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