I have had this idea in the back of my head for awhile now of writing a column with musical accompaniment. My most fun times at the keyboard are when the mind flows free and the ideas pop up organically— a stream-of-consciousness style, if you will. My old Army buddy Michael Marino does it as a matter of course, cranking out articles of chaotic beauty whilst explaining the positive sides of marijuana and/or wine or the death knell of democracy in Roswell, New Mexico, of all places. He is what I always wanted to be— a freethinker— one who allows the words to write themselves out of a sense of moral obligation or whatever he thinks it is.
Archive for Jim Greenwood
Frank Gutch Jr: Bryan Thomas: The Dreamweaver; Dave McGraw & Mandy Fer Play Eugene; plus Notes
Posted in Opinion, Review with tags Bad Company, Bruce Hazen, Bryan Thomas, Chris Ashford, Dan Phelps, Daryl Sartanowicz, Dave McGraw, DBAWIS, Don't Believe a Word I Say, Frank Gutch Jr., Gris de Lin, I Draw Slow, Indie Artists, Indie Music, Jim Greenwood, Joe Fletcher, John Martyn, licorice pizza, Mandy Fer, Marlon Chaplin, Mike Meyers, music, music videos, Oregon, Pure Prairie League, Ron Geiger, segarini, Simon Kirke, Susie Boudreau, Sweet Home, Tarmac Adam, The Tall Teenagers, Wondercap Records on April 19, 2016 by segariniFrank Gutch Jr: The Forgotten Past, Recent and Otherwise; Plus a Few (Very Few) Notes
Posted in Opinion with tags Cowboy, crooked numbers, Dan Phelps, DBAWIS, Don't Believe a Word I Say, Frank Gutch Jr., Greg Laswell, Heartsfield, hymn for her, Indie Artists, Indie Music, jess Pillmore, Jim Greenwood, Joseph LeMay, Keith Morris, King Wilkie, Lavacado, licorice pizza, Love Wounds & Mars, music videos, randy burns, Records, Research Turtles, segarini, Seventeen Acres, Son of Man, Ted Pitney, Teddy & The Roosevelts, Waylo9n Jennings on August 5, 2014 by segarini
Joseph LeMay‘s album Seventeen Acres has been out how long? Three months? I wrote about it in an earlier DBAWIS column and have barely mentioned it since. I have to wonder why. I love some of the songs on that album and like everything about it. It is beautifully recorded, masterfully produced and mastered and, even more important, made up of outstanding songs. And yet I push it into the past. So I started thinking— how does that happen?