T Bone Burnett
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Who Shot Sam?
- Posts: 7097
- Joined: Tue Jun 03, 2003 5:05 pm
- Location: Somewhere in the distance
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StrictTime
- Posts: 413
- Joined: Thu May 31, 2007 4:19 pm
- Location: Philadelphia
- Contact:
T-Bone's work on the new Allison Krauss/ Robert Plant album really defines it. Robert has said in an interview how it was great to be 'produced' ie. be told to do something and know it was right. T- Bone also kicks in some dynamite guitar work , especially on 'Gone, Gone, Gone' .
http://www.amazon.com/Raising-Robert-Pl ... 344&sr=8-1
http://www.amazon.com/Raising-Robert-Pl ... 344&sr=8-1
I love The Criminal Under My Own Hat. Really accessible and it has aged well. You can usually find it bargain priced.
Yeah, "Criminal...." is great , but I think I still prefer "The Talking Animals.
"Proof Thru Night" is probably his best but you would be lucky to find a copy for a decent price - the Rhino Handmade version with the Trap door EPs is sold out I believe - which is insane.
echos myron like a siren
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
Re: T Bone Burnett
Uncut, Feb.'08
20 Albums You Must Hear In 2008
(extract)
T-BONE BURNETT
TITLE TOOTH OF CRIME
LABEL NONESUCH
RELEASE DATE MARCH
Legendary producer (Costello, Robert Plant etc) back in front of the mic
T-BONE I started out wanting to be a songwriter and it’s almost as if all the nice invitations I’ve got as a producer over the intervening years have got in the way of that. I went 14 years without making a solo album before 2006’s The True False Identity. But if the next album seems a rapid follow-u p it’s a hit of a cheat.They’re songs I wrote for an off-Broadway Sam Shepard production from ‘97.I returned to it as a piece and finished off the six or seven songs that were used in the play, and there are three or four more songs that have never been heard.They’re black comedy, really. I’ve recorded them with the band I went on tour with last year for the first time in 20 years - Jim Keltner [drums] and Marc Ribot ]guitar].There’s lots of deep brass on it. I used a euphonium instead of a bass. I’m still producing as well.
As told to Nigel Williamson
20 Albums You Must Hear In 2008
(extract)
T-BONE BURNETT
TITLE TOOTH OF CRIME
LABEL NONESUCH
RELEASE DATE MARCH
Legendary producer (Costello, Robert Plant etc) back in front of the mic
T-BONE I started out wanting to be a songwriter and it’s almost as if all the nice invitations I’ve got as a producer over the intervening years have got in the way of that. I went 14 years without making a solo album before 2006’s The True False Identity. But if the next album seems a rapid follow-u p it’s a hit of a cheat.They’re songs I wrote for an off-Broadway Sam Shepard production from ‘97.I returned to it as a piece and finished off the six or seven songs that were used in the play, and there are three or four more songs that have never been heard.They’re black comedy, really. I’ve recorded them with the band I went on tour with last year for the first time in 20 years - Jim Keltner [drums] and Marc Ribot ]guitar].There’s lots of deep brass on it. I used a euphonium instead of a bass. I’m still producing as well.
As told to Nigel Williamson
Re: T Bone Burnett
Great news! I loved True False Identity.
This morning you've got time for a hot, home-cooked breakfast! Delicious and piping hot in only 3 microwave minutes.
-
thepopeofpop
- Posts: 414
- Joined: Mon Jul 26, 2004 7:19 am
- Location: Newcastle, Australia (& Citizen of the World)
Re:
I think there was only 5000 copies of that. So if you missed out then ... sucks to be youMike Boom wrote:
"Proof Thru Night" is probably his best but you would be lucky to find a copy for a decent price - the Rhino Handmade version with the Trap door EPs is sold out I believe - which is insane.
--Paul--
Now put on your ironic dancing shoes
And dig my brand new rhythm and hues:
https://www.paulinglis.org
Now put on your ironic dancing shoes
And dig my brand new rhythm and hues:
https://www.paulinglis.org
Re: T Bone Burnett
A Rhino edition of Proof through the Night just sold on ebay for a cool £55!
Re: T Bone Burnett
http://www.performingsongwriter.com/pag ... eviews.cfm
New Release Reviews: January/February 2007
Sam Phillips
Don't Do Anything
It’s impossible to listen to Phillips’ latest and not think about the dissolution of her marriage to producer/musician T Bone Burnett. Phillips’ opening line (“I thought if he understood / He wouldn’t treat me this way”) refers to love’s disintegration, and it’s a theme she returns to frequently—asking in one song “Did you ever love me?” and admitting “I know I’ve loved you too much” in another. While Don’t Do Anything retains elements of her early Beatles-inspired baroque pop and her more recent Euro-chanteuse folk, this self-produced (her first without Burnett) album is striking for its uncharacteristically dissonant sonic touches. The distorted guitars and crashing cymbals contrast intriguingly with her fragile, vulnerable vocals, yet they also fit with her lyrics’ emotional turmoil. Although somewhat jarring initially, the music holds its rewards. Tunes like “My Career in Chemistry,” “Little Plastic Life,” “Watching Out of This World” and the title track shine brightly through Phillips’ set of stormy, heartaching songs. —MB
Jan./Feb. release dates for this seem to have vanished ;the best we get now is 'due out this spring'.
http://journal.nonesuch.com/journal/200 ... thday.html
Monday, January 28, 2008
Happy Birthday to Sam Phillips
Everyone at Nonesuch wishes Sam Phillips a very happy birthday today. We're all looking forward to her next Nonesuch release, due out this spring. Check back with the Nonesuch Journal for more information on the record and the forthcoming tour in the coming months.
New Release Reviews: January/February 2007
Sam Phillips
Don't Do Anything
It’s impossible to listen to Phillips’ latest and not think about the dissolution of her marriage to producer/musician T Bone Burnett. Phillips’ opening line (“I thought if he understood / He wouldn’t treat me this way”) refers to love’s disintegration, and it’s a theme she returns to frequently—asking in one song “Did you ever love me?” and admitting “I know I’ve loved you too much” in another. While Don’t Do Anything retains elements of her early Beatles-inspired baroque pop and her more recent Euro-chanteuse folk, this self-produced (her first without Burnett) album is striking for its uncharacteristically dissonant sonic touches. The distorted guitars and crashing cymbals contrast intriguingly with her fragile, vulnerable vocals, yet they also fit with her lyrics’ emotional turmoil. Although somewhat jarring initially, the music holds its rewards. Tunes like “My Career in Chemistry,” “Little Plastic Life,” “Watching Out of This World” and the title track shine brightly through Phillips’ set of stormy, heartaching songs. —MB
Jan./Feb. release dates for this seem to have vanished ;the best we get now is 'due out this spring'.
http://journal.nonesuch.com/journal/200 ... thday.html
Monday, January 28, 2008
Happy Birthday to Sam Phillips
Everyone at Nonesuch wishes Sam Phillips a very happy birthday today. We're all looking forward to her next Nonesuch release, due out this spring. Check back with the Nonesuch Journal for more information on the record and the forthcoming tour in the coming months.
Re: T Bone Burnett
http://prod1.cmj.com/articles/display_a ... d=61047405
T-Bone Takes A Bite Out Of 'Crime'
Mar 21, 2008
Story by: Eric Davidson
Famed songwriter and producer T-Bone Burnett will release his next solo album, Tooth Of Crime (Nonesuch), May 6.
Tooth began in 1986 as a collaboration with playwright Sam Shepard when Burnett put music to a New York production of Shepard's play, Tooth Of Crime. Back then Burnett was a buzzed-about rootsy songwriter in an era dominated by synth-pop and hair metal. But since then, Burnett has mostly concentrated on production for heavy hitting singer-songwriters and rockers including Bob Dylan, Elvis Costello, Los Lobos, Roy Orbison, Ralph Stanley, Tony Bennett and k.d. lang.
Burnett's successful soundtrack work has given blues and bluegrass new life in the music market, thanks to the likes of O Brother! Where Art Thou?M (for which he won a Grammy), Cold Mountain (where he worked with Jack White), Walk The Line and the recent Beatles-centric '60s retelling, Across The Universe. Burnett also produced the recent Robert Plant/Allison Krauss collaborative smash, Raising Sand (Rounder).
Shepard's play for Tooth Of Crime was originally written in 1972, but, in a press statement Burnett said he based his songs on a theater piece in which characters sing, rather than the entire theatrical work. Said Burnett: "I recorded a bunch of things for the play, but then the play kept changing. Only six or seven of the tunes ended up in the play, and it didn't seem like an album. But I just kept going back and working on things and seeing what I could do. Of course, I was doing a lot of other projects, so it ended up being a long process to just getting a grip on what this album was going to be."
Tooth Of Crime follows Burnett's last disc, 2006's The True False IdentityM, which was his first solo record in 14 years.
T-Bone Takes A Bite Out Of 'Crime'
Mar 21, 2008
Story by: Eric Davidson
Famed songwriter and producer T-Bone Burnett will release his next solo album, Tooth Of Crime (Nonesuch), May 6.
Tooth began in 1986 as a collaboration with playwright Sam Shepard when Burnett put music to a New York production of Shepard's play, Tooth Of Crime. Back then Burnett was a buzzed-about rootsy songwriter in an era dominated by synth-pop and hair metal. But since then, Burnett has mostly concentrated on production for heavy hitting singer-songwriters and rockers including Bob Dylan, Elvis Costello, Los Lobos, Roy Orbison, Ralph Stanley, Tony Bennett and k.d. lang.
Burnett's successful soundtrack work has given blues and bluegrass new life in the music market, thanks to the likes of O Brother! Where Art Thou?M (for which he won a Grammy), Cold Mountain (where he worked with Jack White), Walk The Line and the recent Beatles-centric '60s retelling, Across The Universe. Burnett also produced the recent Robert Plant/Allison Krauss collaborative smash, Raising Sand (Rounder).
Shepard's play for Tooth Of Crime was originally written in 1972, but, in a press statement Burnett said he based his songs on a theater piece in which characters sing, rather than the entire theatrical work. Said Burnett: "I recorded a bunch of things for the play, but then the play kept changing. Only six or seven of the tunes ended up in the play, and it didn't seem like an album. But I just kept going back and working on things and seeing what I could do. Of course, I was doing a lot of other projects, so it ended up being a long process to just getting a grip on what this album was going to be."
Tooth Of Crime follows Burnett's last disc, 2006's The True False IdentityM, which was his first solo record in 14 years.
Re: T Bone Burnett
http://mog.com/Charley_Rogulewski/blog_ ... atest_news
(extract)
"Tooth of Crime is a prophetic play that Sam first wrote in 1972, and it takes place in a time very much like now," Burnett explains of the album. "It's a time when there are zones of fame that flare up and people can become incredibly famous in their own zone and nobody else can know it. And then the zone completely disappears, but the famous person doesn't realize it because you can't even find the zone anymore. You have to hook up a toaster to a television to a microwave to a piano - very post-apocalyptic. That was the initial inspiration for the album.”
"These days one of the hardest things to do is find a frame at all to make the songs hang together,” Burnett adds.
Amazon UK
http://www.amazon.co.uk/Tooth-Crime-T-B ... 48&sr=8-36
Amazon US
http://www.amazon.com/Tooth-Crime-T-Bon ... 16&sr=1-19
(extract)
"Tooth of Crime is a prophetic play that Sam first wrote in 1972, and it takes place in a time very much like now," Burnett explains of the album. "It's a time when there are zones of fame that flare up and people can become incredibly famous in their own zone and nobody else can know it. And then the zone completely disappears, but the famous person doesn't realize it because you can't even find the zone anymore. You have to hook up a toaster to a television to a microwave to a piano - very post-apocalyptic. That was the initial inspiration for the album.”
"These days one of the hardest things to do is find a frame at all to make the songs hang together,” Burnett adds.
Amazon UK
http://www.amazon.co.uk/Tooth-Crime-T-B ... 48&sr=8-36
Amazon US
http://www.amazon.com/Tooth-Crime-T-Bon ... 16&sr=1-19
Re: T Bone Burnett
http://www.independent.co.uk/arts-enter ... 19369.html
T Bone Burnett, Tooth of Crime (Nonesuch)
Reviewed by Andy Gill
Friday, 2 May 2008
Despite the competing claims of such as Mark Ronson and Brian (Danger Mouse) Burton, T Bone Burnett may be the most interesting producer working in popular music at the moment. Equally comfortable helming award-winning soundtracks for Cold Mountain, O Brother, Where Art Thou? and Walk the Line, and reacquainting singers like Tony Bennett, Roy Orbison, Cassandra Wilson and kd lang with their roots, his manifold talents combined to powerful effect on last year's peerless Raising Sand collaboration between Robert Plant and Alison Krauss. But until 2006's The True False Identity, his packed diary left Burnett little time to pursue his own muse.
Most of the songs on Tooth of Crime were written at the request of Sam Shepard, for a 1996 musical production of his 1972 play of the same name, and have been reworked and added to through the intervening years. He describes Shepard's original play as involving "zones of fame" in which people can become celebrities, without anyone outside that zone being aware of them. On Burnett's album, these zones are transformed into a series of tableaux depicting the various failings and frustrations of our times, from single-issue themes like drugs ("Dope Island") and media ("Telepresence") to the more generalised complaints of a track such as "The Rat Age", in which ghostly echoes of tambourine and twang, and the subdued lowing of mournful horns, accompany Burnett's declamation concerning the shifting moralities of an increasingly dystopian culture: "We welcomed the genetic code/ And left it bleeding by the road."
It's a format that enables Burnett to adopt a variety of personae, from the confused suitor of "Kill Zone" wondering "Can we untangle guilt and innocence?/ How hard we torture this ambivalence", to the devilish protagonist of "Anything I Say Can and Will Be Used Against You" spreading his virus of temptation: "I will disengage your mastery/ Until all you love is blasphemy". The latter boasts of having a "torture chamber orchestra", here employed furnishing a predatory jazz-noir backdrop that's equal parts Barry Adamson and Tom Waits.
The arrangements possess great depth and diverse character, which almost makes up for Burnett's reluctance to sing, rather than narrate. But if one discards such vocal expectations, and treats Tooth of Crime like an update of the jazz'n'poetry format, its abundant pleasures become apparent.
Pick of the album:'The Rat Age', 'Swizzle Stick', 'Here Come the Philistines', 'Anything I Say Can and Will Be Used Against You'
T Bone Burnett, Tooth of Crime (Nonesuch)
Reviewed by Andy Gill
Friday, 2 May 2008
Despite the competing claims of such as Mark Ronson and Brian (Danger Mouse) Burton, T Bone Burnett may be the most interesting producer working in popular music at the moment. Equally comfortable helming award-winning soundtracks for Cold Mountain, O Brother, Where Art Thou? and Walk the Line, and reacquainting singers like Tony Bennett, Roy Orbison, Cassandra Wilson and kd lang with their roots, his manifold talents combined to powerful effect on last year's peerless Raising Sand collaboration between Robert Plant and Alison Krauss. But until 2006's The True False Identity, his packed diary left Burnett little time to pursue his own muse.
Most of the songs on Tooth of Crime were written at the request of Sam Shepard, for a 1996 musical production of his 1972 play of the same name, and have been reworked and added to through the intervening years. He describes Shepard's original play as involving "zones of fame" in which people can become celebrities, without anyone outside that zone being aware of them. On Burnett's album, these zones are transformed into a series of tableaux depicting the various failings and frustrations of our times, from single-issue themes like drugs ("Dope Island") and media ("Telepresence") to the more generalised complaints of a track such as "The Rat Age", in which ghostly echoes of tambourine and twang, and the subdued lowing of mournful horns, accompany Burnett's declamation concerning the shifting moralities of an increasingly dystopian culture: "We welcomed the genetic code/ And left it bleeding by the road."
It's a format that enables Burnett to adopt a variety of personae, from the confused suitor of "Kill Zone" wondering "Can we untangle guilt and innocence?/ How hard we torture this ambivalence", to the devilish protagonist of "Anything I Say Can and Will Be Used Against You" spreading his virus of temptation: "I will disengage your mastery/ Until all you love is blasphemy". The latter boasts of having a "torture chamber orchestra", here employed furnishing a predatory jazz-noir backdrop that's equal parts Barry Adamson and Tom Waits.
The arrangements possess great depth and diverse character, which almost makes up for Burnett's reluctance to sing, rather than narrate. But if one discards such vocal expectations, and treats Tooth of Crime like an update of the jazz'n'poetry format, its abundant pleasures become apparent.
Pick of the album:'The Rat Age', 'Swizzle Stick', 'Here Come the Philistines', 'Anything I Say Can and Will Be Used Against You'
Re: T Bone Burnett
http://www.theusdaily.com/articles/view ... ?id=376215
05/02/08
Q&A: T Bone Burnett takes center stage to cut "Tooth"
By Gary Graff
Music fans are not imagining it -- T Bone Burnett is just about everywhere they look these days.
The singer/songwriter/musician/producer is on the road with Robert Plant and Alison Krauss after producing their Grammy Award-winning 2007 release, "Raising Sand." He also has production credits on upcoming albums by John Mellencamp and B.B. King, and he was just tapped by the Who to produce an album of covers expected to be released in 2009.
Amidst all these projects, he still finds time to make his own music. After breaking a 14-year recording hiatus, Burnett released "The True False Identity" in 2006, along with the compilation set "Twenty Twenty -- The Essential T Bone Burnett." And this month he emerges with "Tooth of Crime," a companion album to Sam Shepard's revision of his 1972 play of the same name (now called "Tooth of Crime (Second Dance)") 10 years after the two began collaborating on it.
The album features the same dry, hollow sound that's become associated with the Texas-born Burnett in recent years, along with the same corps of musicians -- including guitarist Marc Ribot and drummer Jim Keltner -- that Burnett considers his team. One song, "Kill Zone," hails from a late-'80s collaboration with Roy Orbison.
These are all welcome additions to a career that includes such landmark works as Los Lobos' "How Will the Wolf Survive?," Elvis Costello's "King of America" and the Grammy-winning soundtrack to "O Brother, Where Art Thou?"
Q: You're on tour now with Robert Plant and Alison Krauss. Did you feel a need to personally shepherd "Raising Sand" onto the road -- and will there be a sequel?
T Bone Burnett: Well, yeah. When Robert first talked about this, he said he wanted to do it as a band rather than as a duet album. And it really turned into a band -- and this is an incredible band. Every musician is great, and the two singers are just ridiculous, so it was an irresistible project. And once again I'm the worst player in the band, keeping with my standard operating procedure. (laughs)
(As for a sequel), I hope so. I really do, because I feel like we're just starting to know what we can do with this thing. The two of them are so incredibly good that I would hate to not continue to work with both of them.
Q: You're reactivating your label, DMZ.
Burnett: It's morphing into a new company called Code, which is spelled X-O-Delta-E. We'll be able to function as a record company if we want to, but first of all it's an artist-driven initiative.
There's going to be a fairly large group of artists who have already signed on and who are going to say, "This is the way we want our music heard now." We're going to put out high-resolution audio, and we can come in at any point of the process; there's production, manufacturing and distribution -- only now it's "delivery" -- and we can do all three of those things. We don't need record companies at all anymore -- that's the reality. They've just done themselves out of business with their own greed. They've taken themselves out of the game, and they don't know how to do it anymore, so we're just going to take control of our own work and deliver it to people the way we want it delivered.
Q: What do you have planned for the Who covers album?
Burnett: Well, that is exciting. I've been a High Numbers fan (a name the Who took during its mod phase) for some time because I love that (song) "I'm the Face"; I love the Slim Harpo song "Got Love If You Want It" that it came from -- but I loved the way they did it. Roger (Daltrey) is a really great singer, and we've started going through material. We've picked out about five or six (songs) that we've all said, "Yeah, let's do these" -- I'm not going to say what they are because that might take some of the fun out of it. And I'm sure we'll find more as we go on. We'll probably do about 15 (songs).
Q: What did you want to accomplish with B.B. King on his album?
Burnett: I saw B.B. at the Central Forest Ballroom in Dallas in '65 or something like that. I remembered exactly how that felt and how that sounded, so I wanted to go back and sort of re-create that very live sound. We all cut it just sitting around in a circle. I tried to be very true to who (King) was when I first heard him and that energy -- in other words, not try to update him in any way.
Q: How did you find working with John Mellencamp?
Burnett: I love John Mellencamp. He is a powerful musician and he rocks like crazy and he's a really great singer. He's salty as all get-out, there's no doubt about that, but I enjoy that. I'm at a great time in my life now where everybody I work with is so good you just sort of turn on the tape and they do it -- and that's how it was with him, too.
He's a great storyteller and a great artist. I didn't offer much direction, really, but he was certainly open. He encouraged me to play guitar a lot on the record, which I enjoyed. For years and years I stayed away from playing on the records I produced because I wanted to stay outside of the songs; I just wanted to be able to absorb them. But he wanted me to play, so I did, and he's got a great band. It was a terrific experience.
Q: You're an artist, songwriter, producer, musical director -- do you like any one better than the other?
Burnett: The best job in show business is a free-standing artist. I shied away from it because I was, I don't know ... embarrassed? Kind of, "I know I'm not good enough in the face of Ray Charles," you know? I wasn't good enough for myself. And for a long time I haven't known what I wanted to say, at least on my own records.
I didn't really feel like I had to be a record artist. I had to learn to accept who I am and let it be that ... I have things I want to say now. I've got a whole bunch of songs I've written, and I'm going to just keep working as much as I can to get this stuff down.
05/02/08
Q&A: T Bone Burnett takes center stage to cut "Tooth"
By Gary Graff
Music fans are not imagining it -- T Bone Burnett is just about everywhere they look these days.
The singer/songwriter/musician/producer is on the road with Robert Plant and Alison Krauss after producing their Grammy Award-winning 2007 release, "Raising Sand." He also has production credits on upcoming albums by John Mellencamp and B.B. King, and he was just tapped by the Who to produce an album of covers expected to be released in 2009.
Amidst all these projects, he still finds time to make his own music. After breaking a 14-year recording hiatus, Burnett released "The True False Identity" in 2006, along with the compilation set "Twenty Twenty -- The Essential T Bone Burnett." And this month he emerges with "Tooth of Crime," a companion album to Sam Shepard's revision of his 1972 play of the same name (now called "Tooth of Crime (Second Dance)") 10 years after the two began collaborating on it.
The album features the same dry, hollow sound that's become associated with the Texas-born Burnett in recent years, along with the same corps of musicians -- including guitarist Marc Ribot and drummer Jim Keltner -- that Burnett considers his team. One song, "Kill Zone," hails from a late-'80s collaboration with Roy Orbison.
These are all welcome additions to a career that includes such landmark works as Los Lobos' "How Will the Wolf Survive?," Elvis Costello's "King of America" and the Grammy-winning soundtrack to "O Brother, Where Art Thou?"
Q: You're on tour now with Robert Plant and Alison Krauss. Did you feel a need to personally shepherd "Raising Sand" onto the road -- and will there be a sequel?
T Bone Burnett: Well, yeah. When Robert first talked about this, he said he wanted to do it as a band rather than as a duet album. And it really turned into a band -- and this is an incredible band. Every musician is great, and the two singers are just ridiculous, so it was an irresistible project. And once again I'm the worst player in the band, keeping with my standard operating procedure. (laughs)
(As for a sequel), I hope so. I really do, because I feel like we're just starting to know what we can do with this thing. The two of them are so incredibly good that I would hate to not continue to work with both of them.
Q: You're reactivating your label, DMZ.
Burnett: It's morphing into a new company called Code, which is spelled X-O-Delta-E. We'll be able to function as a record company if we want to, but first of all it's an artist-driven initiative.
There's going to be a fairly large group of artists who have already signed on and who are going to say, "This is the way we want our music heard now." We're going to put out high-resolution audio, and we can come in at any point of the process; there's production, manufacturing and distribution -- only now it's "delivery" -- and we can do all three of those things. We don't need record companies at all anymore -- that's the reality. They've just done themselves out of business with their own greed. They've taken themselves out of the game, and they don't know how to do it anymore, so we're just going to take control of our own work and deliver it to people the way we want it delivered.
Q: What do you have planned for the Who covers album?
Burnett: Well, that is exciting. I've been a High Numbers fan (a name the Who took during its mod phase) for some time because I love that (song) "I'm the Face"; I love the Slim Harpo song "Got Love If You Want It" that it came from -- but I loved the way they did it. Roger (Daltrey) is a really great singer, and we've started going through material. We've picked out about five or six (songs) that we've all said, "Yeah, let's do these" -- I'm not going to say what they are because that might take some of the fun out of it. And I'm sure we'll find more as we go on. We'll probably do about 15 (songs).
Q: What did you want to accomplish with B.B. King on his album?
Burnett: I saw B.B. at the Central Forest Ballroom in Dallas in '65 or something like that. I remembered exactly how that felt and how that sounded, so I wanted to go back and sort of re-create that very live sound. We all cut it just sitting around in a circle. I tried to be very true to who (King) was when I first heard him and that energy -- in other words, not try to update him in any way.
Q: How did you find working with John Mellencamp?
Burnett: I love John Mellencamp. He is a powerful musician and he rocks like crazy and he's a really great singer. He's salty as all get-out, there's no doubt about that, but I enjoy that. I'm at a great time in my life now where everybody I work with is so good you just sort of turn on the tape and they do it -- and that's how it was with him, too.
He's a great storyteller and a great artist. I didn't offer much direction, really, but he was certainly open. He encouraged me to play guitar a lot on the record, which I enjoyed. For years and years I stayed away from playing on the records I produced because I wanted to stay outside of the songs; I just wanted to be able to absorb them. But he wanted me to play, so I did, and he's got a great band. It was a terrific experience.
Q: You're an artist, songwriter, producer, musical director -- do you like any one better than the other?
Burnett: The best job in show business is a free-standing artist. I shied away from it because I was, I don't know ... embarrassed? Kind of, "I know I'm not good enough in the face of Ray Charles," you know? I wasn't good enough for myself. And for a long time I haven't known what I wanted to say, at least on my own records.
I didn't really feel like I had to be a record artist. I had to learn to accept who I am and let it be that ... I have things I want to say now. I've got a whole bunch of songs I've written, and I'm going to just keep working as much as I can to get this stuff down.
-
Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
Re: T Bone Burnett
Been impressed by Brandi Carlile recently, both with 'Late Morning Lullaby' on a Word comp and two songs on Later, one of which was called 'Turpentine'! Then it turns out T Bone produced the new LP The Story too. Boy does he get around, and with impeccable taste. Anyone heard the whole record? Love the country yodel touch on 'Late Morning Lullaby'. Check this + the Later songs out here:
http://www.myspace.com/brandicarlileband
http://www.myspace.com/brandicarlileband
There's more to life than books, you know, but not much more
Re: T Bone Burnett
T Bone was recently a guest DJ on NPR's All Songs Considered:
http://www.npr.org/templates/story/stor ... d=90471395
Sounds like he's having a great time on the road with Alison Krauss & Robert Plant, and from the sounds of it this B.B. King album in the can should be a good one. Unfortunately it sounds like the Who project has been shelved... Townshend has kind of withdrawn from everything, says T Bone.
http://www.npr.org/templates/story/stor ... d=90471395
Sounds like he's having a great time on the road with Alison Krauss & Robert Plant, and from the sounds of it this B.B. King album in the can should be a good one. Unfortunately it sounds like the Who project has been shelved... Townshend has kind of withdrawn from everything, says T Bone.
This morning you've got time for a hot, home-cooked breakfast! Delicious and piping hot in only 3 microwave minutes.
Re: T Bone Burnett
http://www.villagerecords.com/product_i ... f125d0ec4d
LIFE DEATH LOVE AND FREEDOM CD+DVD
Artist: JOHN MELLENCAMP [N080736] $16.99
Bill Lavery comments
For musicians that have been around for a long time and sold tons of records back in the day but are now too old, or too radical for radio, you only have two choices left. You can either go to Rick Rubin or T-Bone Burnett for a career makeover. This is one area that Oprah and Larry King can’t help. I’m with Mellencamp who chose Burnett over the hairy one. Burnett is at least a musician himself and has proven to be a better guidance counselor than Rubin for the most part. If these artists aren’t going to take my advice Burnett is an acceptable second choice. For this new album of all originals Mellencamp sounds much more relaxed and the songs truly do reflect the album title. The DVD is (according to the release info) the very first disc to ever feature the “Code” system. It is a propriety audio technology that creates hi-def sound comparable to the master tape. It will play on any DVD player, including those in computers. Get ready for life on the cutting edge.
Hear Music
This product will be in stock on Tuesday 15 July, 2008.
http://www.mellencamp.com/?module=news&news_item_id=83
http://www.amazon.com/Life-Death-Love-F ... 411&sr=8-1
LIFE DEATH LOVE AND FREEDOM CD+DVD
Artist: JOHN MELLENCAMP [N080736] $16.99
Bill Lavery comments
For musicians that have been around for a long time and sold tons of records back in the day but are now too old, or too radical for radio, you only have two choices left. You can either go to Rick Rubin or T-Bone Burnett for a career makeover. This is one area that Oprah and Larry King can’t help. I’m with Mellencamp who chose Burnett over the hairy one. Burnett is at least a musician himself and has proven to be a better guidance counselor than Rubin for the most part. If these artists aren’t going to take my advice Burnett is an acceptable second choice. For this new album of all originals Mellencamp sounds much more relaxed and the songs truly do reflect the album title. The DVD is (according to the release info) the very first disc to ever feature the “Code” system. It is a propriety audio technology that creates hi-def sound comparable to the master tape. It will play on any DVD player, including those in computers. Get ready for life on the cutting edge.
Hear Music
This product will be in stock on Tuesday 15 July, 2008.
http://www.mellencamp.com/?module=news&news_item_id=83
http://www.amazon.com/Life-Death-Love-F ... 411&sr=8-1
Re: T Bone Burnett
A release date of August 26 has been set for B.B. King's T-Bone Burnett-produced album, entitled One Kind Favor.
This morning you've got time for a hot, home-cooked breakfast! Delicious and piping hot in only 3 microwave minutes.
Re: T Bone Burnett
http://www.rollingstone.com/rockdaily/i ... -style-set
In the Studio: B.B. King Cuts Fifties-Style Set
7/3/08, 11:45 am EST
Brian Hiatt writes -
When producer T Bone Burnett first met with B.B. King, he presented the blues legend with a simple mission statement: “I’d like for you to go back to the Fifties and do some of the stuff as you did it then.” At 82, King wondered whether he could really re-create what he calls “the B.B. King that was” on a new album. “My voice is nothing like it was, and maybe my playing isn’t like it was,” he says. “But I believed that we could do something different than what I’ve been doing recently and not worry about sounding contemporary. Times have changed so much, music has changed so much, but those old records still sound pretty good.”
As it turns out, One Kind Favor recaptures much of the spirit and sound of King’s early recordings, complete with rich horn-section blasts, vintage-style tube distortion on the vocals and boogie-woogie piano courtesy of Dr. John. As on King’s Fifties records, he played live in the studio with the band, which included Eric Clapton sideman Nathan East on stand-up bass and session vet Jim Keltner on drums. Despite the all-star backing, King’s lion’s-roar vocals and stinging lead guitar are way up front — Burnett’s main direction to King was “play a little more.”
Burnett is as much a music curator as he is a producer, picking songs for films and albums alike, from O Brother, Where Art Thou? to Robert Plant and Alison Krauss’ Raising Sand. For King’s album, Burnett found blues oldies ranging from the Mississippi Sheiks’ “Sitting on Top of the World” to Howlin’ Wolf’s “How Many More Years.” He went through nearly 200 possibilities, digging deep into King’s influences, such as Forties guitarist T-Bone Walker and jazz-blues virtuoso Lonnie Johnson. “We went back to the early part of the last century to find songs that he used to do in the Fifties,” says Burnett. “We looked at a lot of the stuff he loved when he was growing up.”
While the album took its title from the chorus of its bleak opening track — Blind Lemon Jefferson’s “See That My Grave Is Kept Clean” — King says making it was “a ball.” “There were no egos, and when we sat down, it started to come together like we had been playing for years,” says King. “I was sad when the project was over.”
In the Studio: B.B. King Cuts Fifties-Style Set
7/3/08, 11:45 am EST
Brian Hiatt writes -
When producer T Bone Burnett first met with B.B. King, he presented the blues legend with a simple mission statement: “I’d like for you to go back to the Fifties and do some of the stuff as you did it then.” At 82, King wondered whether he could really re-create what he calls “the B.B. King that was” on a new album. “My voice is nothing like it was, and maybe my playing isn’t like it was,” he says. “But I believed that we could do something different than what I’ve been doing recently and not worry about sounding contemporary. Times have changed so much, music has changed so much, but those old records still sound pretty good.”
As it turns out, One Kind Favor recaptures much of the spirit and sound of King’s early recordings, complete with rich horn-section blasts, vintage-style tube distortion on the vocals and boogie-woogie piano courtesy of Dr. John. As on King’s Fifties records, he played live in the studio with the band, which included Eric Clapton sideman Nathan East on stand-up bass and session vet Jim Keltner on drums. Despite the all-star backing, King’s lion’s-roar vocals and stinging lead guitar are way up front — Burnett’s main direction to King was “play a little more.”
Burnett is as much a music curator as he is a producer, picking songs for films and albums alike, from O Brother, Where Art Thou? to Robert Plant and Alison Krauss’ Raising Sand. For King’s album, Burnett found blues oldies ranging from the Mississippi Sheiks’ “Sitting on Top of the World” to Howlin’ Wolf’s “How Many More Years.” He went through nearly 200 possibilities, digging deep into King’s influences, such as Forties guitarist T-Bone Walker and jazz-blues virtuoso Lonnie Johnson. “We went back to the early part of the last century to find songs that he used to do in the Fifties,” says Burnett. “We looked at a lot of the stuff he loved when he was growing up.”
While the album took its title from the chorus of its bleak opening track — Blind Lemon Jefferson’s “See That My Grave Is Kept Clean” — King says making it was “a ball.” “There were no egos, and when we sat down, it started to come together like we had been playing for years,” says King. “I was sad when the project was over.”
Re: T Bone Burnett
http://www.thisissomewhere.com/2009/05/ ... ls-record/
May 11, 2009
GRACE POTTER AND THE NOCTURNALS TO WORK WITH LEGENDARY PRODUCER T BONE BURNETT ON BAND’S THIRD ALBUM
On April 20th, Grace Potter and the Nocturnals entered Village Recorder in West L.A. to begin work on the Vermont-based group’s third album. It will be recorded under the expert guidance of 2009 Producer of the Year Grammy winner T Bone Burnett, whose remarkable discography includes landmark albums from Robert Plant & Alison Krauss, Elvis Costello, John Mellencamp, Gillian Welch, Roy Orbison, Counting Crows and the Wallflowers. Grace and The Nocturnals are naturally over the moon about Burnett’s desire to work together. The album is tentatively slated for a fall 2009 release.
“T Bone’s a legend but also a genuinely effervescent personality, which is what I look for in anybody, especially a producer,” says Grace, who explains that Burnett’s name has been at the top of the band’s wish list since it formed in 2002. “We’ve been putting out feelers for a while,” she says. “In the end, it was Bob Cavallo [Chairman of the Disney Music Group] who called him and said, ‘T Bone, you owe me 25 bucks.’ He was referring to a golf match they’d had like 20 years ago. How funny is that?” Soon thereafter, Burnett, Cavallo and Potter got together for breakfast. “They both have such spectacular histories, and for the first 45 minutes they just traded stories. I thought it would just be a ‘getting to know you’ meeting, but at the end, T Bone said, ‘Let’s go make a record.’”
Soon thereafter, the new collaborators started going through the 50 songs Grace and The Nocturnals had written in the last two years, which range from “feel-good to salty Americana to swaggering soul with a backbeat,” as she puts it. “T Bone put the project in cinematic terms,” says Grace. “He told me, ‘You and your voice and your songs are the movie; I’m just gonna score the movie.’ Since then we’ve been riffing back and forth: I’ll shoot a song demo to him on MP3, and he’ll get me notes back within a few hours. He has a really interesting sense of the big picture, but has an acute sense of subtle detail. It’s such a huge relief to find a producer of T Bone’s caliber we can totally put our trust in, not just because of the records he’s made, but because of the person he is. Now it’s happening, and we’re excited and ready!”
Grace Potter and The Nocturnals have generated glowing reviews across the board. David Fricke of Rolling Stone proclaimed, “Potter is poised for bigger things…” USA Today raved, “Nocturnals play the daylights out of rock.” New York Times critic Stephen Holden said of their live show, “The Sound of the ‘70s From a Singer in her 20s, …a sense of familiarity, of a time-honored ritual expertly and reverently re-enacted, is one of the attractions of this Vermont quartet.”
In between recording and mixing the new album, Grace Potter and The Nocturnals will be on the road playing a handful of dates previewing songs from their upcoming album
May 11, 2009
GRACE POTTER AND THE NOCTURNALS TO WORK WITH LEGENDARY PRODUCER T BONE BURNETT ON BAND’S THIRD ALBUM
On April 20th, Grace Potter and the Nocturnals entered Village Recorder in West L.A. to begin work on the Vermont-based group’s third album. It will be recorded under the expert guidance of 2009 Producer of the Year Grammy winner T Bone Burnett, whose remarkable discography includes landmark albums from Robert Plant & Alison Krauss, Elvis Costello, John Mellencamp, Gillian Welch, Roy Orbison, Counting Crows and the Wallflowers. Grace and The Nocturnals are naturally over the moon about Burnett’s desire to work together. The album is tentatively slated for a fall 2009 release.
“T Bone’s a legend but also a genuinely effervescent personality, which is what I look for in anybody, especially a producer,” says Grace, who explains that Burnett’s name has been at the top of the band’s wish list since it formed in 2002. “We’ve been putting out feelers for a while,” she says. “In the end, it was Bob Cavallo [Chairman of the Disney Music Group] who called him and said, ‘T Bone, you owe me 25 bucks.’ He was referring to a golf match they’d had like 20 years ago. How funny is that?” Soon thereafter, Burnett, Cavallo and Potter got together for breakfast. “They both have such spectacular histories, and for the first 45 minutes they just traded stories. I thought it would just be a ‘getting to know you’ meeting, but at the end, T Bone said, ‘Let’s go make a record.’”
Soon thereafter, the new collaborators started going through the 50 songs Grace and The Nocturnals had written in the last two years, which range from “feel-good to salty Americana to swaggering soul with a backbeat,” as she puts it. “T Bone put the project in cinematic terms,” says Grace. “He told me, ‘You and your voice and your songs are the movie; I’m just gonna score the movie.’ Since then we’ve been riffing back and forth: I’ll shoot a song demo to him on MP3, and he’ll get me notes back within a few hours. He has a really interesting sense of the big picture, but has an acute sense of subtle detail. It’s such a huge relief to find a producer of T Bone’s caliber we can totally put our trust in, not just because of the records he’s made, but because of the person he is. Now it’s happening, and we’re excited and ready!”
Grace Potter and The Nocturnals have generated glowing reviews across the board. David Fricke of Rolling Stone proclaimed, “Potter is poised for bigger things…” USA Today raved, “Nocturnals play the daylights out of rock.” New York Times critic Stephen Holden said of their live show, “The Sound of the ‘70s From a Singer in her 20s, …a sense of familiarity, of a time-honored ritual expertly and reverently re-enacted, is one of the attractions of this Vermont quartet.”
In between recording and mixing the new album, Grace Potter and The Nocturnals will be on the road playing a handful of dates previewing songs from their upcoming album
Re: T Bone Burnett
http://www.timesunion.com/AspStories/st ... egory=ARTS
Grace Potter and the Nocturnals, left to right: Catherine Popper, Grace Potter, Matt Burr, Benny Yurco and Scott Tournet
Grace Potter and T Bone Burnett in the studio at Burnett's house.
Grace 'n T Bone at work ; does Elvis , I wonder, get as relaxed when he works with 'T'?
Grace Potter and the Nocturnals headline Alive at Five
By TOM KEYSER, Staff writer
Thursday, June 25, 2009
Grace Potter and the Nocturnals opened for the Dave Matthews Band last summer at the Saratoga Performing Arts Center. They've played at Mountain Jam and Revolution Hall and opened for Gov't Mule at Proctors.
But the only Capital Region show that Potter mentions in a recent interview is one that got rained out -- a Monday Nights in the Park concert two years ago in Washington Park.
"I'm just looking forward to making up that rain date," Potter says. "I'm asking the whole city of Albany to cross their fingers so the rain stays away, and we all can have a good time."
Potter and her band of rockers headline the Alive at Five concert today at Riverfront Park, fresh from recording an album with the veteran musician and producer T Bone Burnett. Potter, 25, who lives with her parents in Waitsfield, Vt., joined an elite group by recording with the 61-year-old Burnett. He won four Grammy awards for composing and producing the music for the movie "O Brother, Where Art Thou?" and has produced albums for such artists as Elvis Costello, Counting Crows, Los Lobos, Roy Orbison, and Alison Krauss and Robert Plant.
This album, due out in October, is the seventh overall for Potter and the band's second for Ragged Company/Hollywood Records. Bob Cavallo, head of the record label, approached Burnett about producing the Nocturnals, and he agreed, fulfilling a dream for Potter and her band mates.
"When the band formed in 2004, we made up our dream list of producers," Potter says. "T Bone was at the top of the list. So whenever possible, whenever I could in interviews, I would mention his name in hopes that the music gods would somehow have him hear my cry. And I guess he did."
The Nocturnals spent 31/2 weeks recording the album in California. It was an intoxicating experience for Potter, whose hometown has fewer than 2,000 residents.
"We tracked all the basic stuff at the Village Recorder in Santa Monica, which was great, because the first day we pulled up to park, there was Robbie Robertson outside, waiting to get in," Potter says. "We were like, 'OK, I guess we're in the right place.' ... And we finished the final overdubs at T Bone's house -- literally in the studio at T Bone's house, somewhere near Beverly Hills."
Some producers, Potter says, "just organize things and orchestrate things and ... keep the musicians from wanting to kill each other. T Bone doesn't do any of that. He just comes in and sets a tone. He puts his touch onto whatever music you're already making."
What touch did he put onto Grace Potter and the Nocturnals?
"It softened our hard edges," Potter says. "We're a very dynamic band. T Bone's more like a trance kind of guy. He's really into the whole idea of finding a pulse and sticking to it -- not so many stops and starts.
"So he really kind of streamlined each song into a sort a sonic trance sound -- very simple, not trying too hard, not overplaying. Nobody ever overplayed on this record, which I though was great."
Potter says the band's followers will notice the difference on record and in concert.
Grace Potter and the Nocturnals, left to right: Catherine Popper, Grace Potter, Matt Burr, Benny Yurco and Scott Tournet
Grace Potter and T Bone Burnett in the studio at Burnett's house.
Grace 'n T Bone at work ; does Elvis , I wonder, get as relaxed when he works with 'T'?
Grace Potter and the Nocturnals headline Alive at Five
By TOM KEYSER, Staff writer
Thursday, June 25, 2009
Grace Potter and the Nocturnals opened for the Dave Matthews Band last summer at the Saratoga Performing Arts Center. They've played at Mountain Jam and Revolution Hall and opened for Gov't Mule at Proctors.
But the only Capital Region show that Potter mentions in a recent interview is one that got rained out -- a Monday Nights in the Park concert two years ago in Washington Park.
"I'm just looking forward to making up that rain date," Potter says. "I'm asking the whole city of Albany to cross their fingers so the rain stays away, and we all can have a good time."
Potter and her band of rockers headline the Alive at Five concert today at Riverfront Park, fresh from recording an album with the veteran musician and producer T Bone Burnett. Potter, 25, who lives with her parents in Waitsfield, Vt., joined an elite group by recording with the 61-year-old Burnett. He won four Grammy awards for composing and producing the music for the movie "O Brother, Where Art Thou?" and has produced albums for such artists as Elvis Costello, Counting Crows, Los Lobos, Roy Orbison, and Alison Krauss and Robert Plant.
This album, due out in October, is the seventh overall for Potter and the band's second for Ragged Company/Hollywood Records. Bob Cavallo, head of the record label, approached Burnett about producing the Nocturnals, and he agreed, fulfilling a dream for Potter and her band mates.
"When the band formed in 2004, we made up our dream list of producers," Potter says. "T Bone was at the top of the list. So whenever possible, whenever I could in interviews, I would mention his name in hopes that the music gods would somehow have him hear my cry. And I guess he did."
The Nocturnals spent 31/2 weeks recording the album in California. It was an intoxicating experience for Potter, whose hometown has fewer than 2,000 residents.
"We tracked all the basic stuff at the Village Recorder in Santa Monica, which was great, because the first day we pulled up to park, there was Robbie Robertson outside, waiting to get in," Potter says. "We were like, 'OK, I guess we're in the right place.' ... And we finished the final overdubs at T Bone's house -- literally in the studio at T Bone's house, somewhere near Beverly Hills."
Some producers, Potter says, "just organize things and orchestrate things and ... keep the musicians from wanting to kill each other. T Bone doesn't do any of that. He just comes in and sets a tone. He puts his touch onto whatever music you're already making."
What touch did he put onto Grace Potter and the Nocturnals?
"It softened our hard edges," Potter says. "We're a very dynamic band. T Bone's more like a trance kind of guy. He's really into the whole idea of finding a pulse and sticking to it -- not so many stops and starts.
"So he really kind of streamlined each song into a sort a sonic trance sound -- very simple, not trying too hard, not overplaying. Nobody ever overplayed on this record, which I though was great."
Potter says the band's followers will notice the difference on record and in concert.
Re: T Bone Burnett
http://jesse-dylan.livejournal.com/529817.html
Jan. 27th, 2010
Jesse Dylan blogs -
(extract)
Someone in Vancouver was kind enough to post a video of Steve Earle at The Orpheum Theater from a few nights ago. So cool. In it, he announced he and his wife were having a baby in March. So, rather than being happy for him, I actually felt jealous, thinking, jeez, if he's having a kid, there's no way he'll do an album this year. But, right afterwards, he also announced that in May he'd be in California working on a new album with none other than producer T-Bone Burnett, who's just been on a role lately, and I've loved everything he's done, from John Mellencamp to Elvis Costello. I bet Steve's album with him will be the best yet. (I fantasize about him wanting to produce an album with me.)
Jan. 27th, 2010
Jesse Dylan blogs -
(extract)
Someone in Vancouver was kind enough to post a video of Steve Earle at The Orpheum Theater from a few nights ago. So cool. In it, he announced he and his wife were having a baby in March. So, rather than being happy for him, I actually felt jealous, thinking, jeez, if he's having a kid, there's no way he'll do an album this year. But, right afterwards, he also announced that in May he'd be in California working on a new album with none other than producer T-Bone Burnett, who's just been on a role lately, and I've loved everything he's done, from John Mellencamp to Elvis Costello. I bet Steve's album with him will be the best yet. (I fantasize about him wanting to produce an album with me.)
Re: T Bone Burnett
http://www.billboard.com/news#/news/jak ... 3283.story
January 28, 2010
Jakob Dylan Joins Neko Case, T-Bone Burnett For 'Women And Country'
by David J. Prince, N.Y.
Jakob Dylan, the Grammy-winning singer and songwriter who founded The Wallflowers, is readying the release of his second solo album. "Women and Country," a 11-song set due Apr. 6 on Columbia Records, reunites Dylan with acclaimed producer T-Bone Burnett, who produced the Wallflowers' 1996 album "Bringing Down the Horse" and its hit single "One Headlight."
"Women and Country" also finds Dylan collaborating with breakout alt-country singers Neko Case and Kelly Hogan, who appear prominently on eight of the album's tracks. Case, a member of Canadian indie rock outfit The New Pornographers whose 2009 solo album "Middle Cyclone" debuted at No. 3 on the Billboard 200, is nominated for two Grammy Awards this year.
Backing Dylan on the album is Burnett's celebrated group of session musicians -- including guitarist Marc Ribot, David Mansfield playing fiddle and mandolin, and in-demand keyboard whiz Keefus Ciancia -- who give the 11 songs the cohesion of a seasoned band.
"When I worked with T-Bone years ago, he didn't have this well-honed system in place," Dylan explained to Billboard.com. "Its fine and easy to get great musicians, but he's cultivated something truly special with that group of guys. I really wanted it to sound like a band throughout, and with them I didn't have to over-think things."
Dylan's first solo album, 2008's "Seeing Things," was a critically lauded collection of acoustic songs that showed a more introspective and intimate side of his songwriting than he had previously with the band. "Women and Country" continues in the same vein, but the rich harmonies with Case and Hogan, alongside Burnett's signature take on American roots music, find Dylan reaching a new level of clarity and intensity.
"I'm so happy to be collaborating with Jakob at this exciting and vital time in his life as an artist," Burnett said in a statement. "I think this new album is an important work from a great musician."
Case and Hogan, who toured together extensively last year behind "Cyclone," recorded their vocals during an intense two-day session in Los Angeles. Dylan and Case come close to a duet on the reflective ballad "Down On Our Shield" but the evocative harmonies of their three voices give "Women and Country" its chemistry. "Neko's a huge character," Dylan said. "She and Kelly add a huge personality to the record."
Dylan plans to tour with Case and Hogan this summer, along with several players from Case's backing band, and plans to incorporate songs from throughout his entire career. "I don't feel precious about that," he said, "as long as the songs sound good together."
January 28, 2010
Jakob Dylan Joins Neko Case, T-Bone Burnett For 'Women And Country'
by David J. Prince, N.Y.
Jakob Dylan, the Grammy-winning singer and songwriter who founded The Wallflowers, is readying the release of his second solo album. "Women and Country," a 11-song set due Apr. 6 on Columbia Records, reunites Dylan with acclaimed producer T-Bone Burnett, who produced the Wallflowers' 1996 album "Bringing Down the Horse" and its hit single "One Headlight."
"Women and Country" also finds Dylan collaborating with breakout alt-country singers Neko Case and Kelly Hogan, who appear prominently on eight of the album's tracks. Case, a member of Canadian indie rock outfit The New Pornographers whose 2009 solo album "Middle Cyclone" debuted at No. 3 on the Billboard 200, is nominated for two Grammy Awards this year.
Backing Dylan on the album is Burnett's celebrated group of session musicians -- including guitarist Marc Ribot, David Mansfield playing fiddle and mandolin, and in-demand keyboard whiz Keefus Ciancia -- who give the 11 songs the cohesion of a seasoned band.
"When I worked with T-Bone years ago, he didn't have this well-honed system in place," Dylan explained to Billboard.com. "Its fine and easy to get great musicians, but he's cultivated something truly special with that group of guys. I really wanted it to sound like a band throughout, and with them I didn't have to over-think things."
Dylan's first solo album, 2008's "Seeing Things," was a critically lauded collection of acoustic songs that showed a more introspective and intimate side of his songwriting than he had previously with the band. "Women and Country" continues in the same vein, but the rich harmonies with Case and Hogan, alongside Burnett's signature take on American roots music, find Dylan reaching a new level of clarity and intensity.
"I'm so happy to be collaborating with Jakob at this exciting and vital time in his life as an artist," Burnett said in a statement. "I think this new album is an important work from a great musician."
Case and Hogan, who toured together extensively last year behind "Cyclone," recorded their vocals during an intense two-day session in Los Angeles. Dylan and Case come close to a duet on the reflective ballad "Down On Our Shield" but the evocative harmonies of their three voices give "Women and Country" its chemistry. "Neko's a huge character," Dylan said. "She and Kelly add a huge personality to the record."
Dylan plans to tour with Case and Hogan this summer, along with several players from Case's backing band, and plans to incorporate songs from throughout his entire career. "I don't feel precious about that," he said, "as long as the songs sound good together."
Re: T Bone Burnett
http://www.redcarpetcrash.com/2010/08/2 ... -in-dallas
Win Tickets To ‘T Bone Burnett’ At The AT&T Performing Arts Center In Dallas
22 Aug, 2010
Red Carpet Crash has tickets to see legendary recording artist “T Bone Burnett”, Sunday September 12th, at 5:30pm, at the Winspear Opera House, at the AT&T Performing Arts Center(to buy tickets click here http://www.attpac.org/).
Register to win a pair of tickets to the show below:
During this unforgettable evening, T Bone Burnett will explore the finely hewn craft of matching music to image and share his recollections from working with artists from B.B. King to the Coen brothers. Burnett will show clips from films he’s been involved in, as well as his favorite movie musical moments from other great films that have influenced his work. T Bone Burnett initially made his mark as a recording artist and highly sought-after producer for an array of artists including Roy Orbison and Elvis Costello. In addition to his Academy Award for Best Original Song for “The Weary Kind,” the theme from Crazy Heart, Burnett has also worked as a composer, music supervisor and producer for films such O Brother, Where Art Thou?, Walk the Line, Across the Universe, and The Big Lebowski. October 2007 saw the release of the Grammy winning, Burnett-produced Raising Sand, a collaborative album featuring Alison Krauss and Robert Plant.
http://www.tboneburnett.com/
Win Tickets To 'T Bone Burnett'
Fill out the form below ( see link) to register for a pair of tickets to see 'T Bone Burnett', Sunday September 12th, at 5:30pm, at the Winspear Opera House, at the AT&T Performing Arts Center. Must be 17 years old or older to win. NO PURCHASE NECESSARY
Win Tickets To ‘T Bone Burnett’ At The AT&T Performing Arts Center In Dallas
22 Aug, 2010
Red Carpet Crash has tickets to see legendary recording artist “T Bone Burnett”, Sunday September 12th, at 5:30pm, at the Winspear Opera House, at the AT&T Performing Arts Center(to buy tickets click here http://www.attpac.org/).
Register to win a pair of tickets to the show below:
During this unforgettable evening, T Bone Burnett will explore the finely hewn craft of matching music to image and share his recollections from working with artists from B.B. King to the Coen brothers. Burnett will show clips from films he’s been involved in, as well as his favorite movie musical moments from other great films that have influenced his work. T Bone Burnett initially made his mark as a recording artist and highly sought-after producer for an array of artists including Roy Orbison and Elvis Costello. In addition to his Academy Award for Best Original Song for “The Weary Kind,” the theme from Crazy Heart, Burnett has also worked as a composer, music supervisor and producer for films such O Brother, Where Art Thou?, Walk the Line, Across the Universe, and The Big Lebowski. October 2007 saw the release of the Grammy winning, Burnett-produced Raising Sand, a collaborative album featuring Alison Krauss and Robert Plant.
http://www.tboneburnett.com/
Win Tickets To 'T Bone Burnett'
Fill out the form below ( see link) to register for a pair of tickets to see 'T Bone Burnett', Sunday September 12th, at 5:30pm, at the Winspear Opera House, at the AT&T Performing Arts Center. Must be 17 years old or older to win. NO PURCHASE NECESSARY