2020. 2. 29. 19:10ㆍ카테고리 없음
When you first heard that Billie Joe Armstrong of the arena punk band Green Day and darling little lounge singer Norah Jones were teaming up to make an Everly Brothers tribute album of all things, you wondered if this was some drunken dare taken way too far. At the same time, there was something about the idea that seemed just insane enough to make some strange bit of sense.Whatever you think this album is going to be, whatever you think in your little music brain it will sound like as you squint and try to envision Billie Joe, Norah Jones, and the Everly Brothers sharing the same 3-bedroom apartment, you’re probably wrong. For starters, you’re not going to get any of the noted Everly Brothers hits. No “Bye Bye Love,” no “Wake Up Little Susie,” no “Bird Dog,” “All I Have To Do Is Dream,” or other recognizable Everly Brothers standards. I’m the exact opposite of you. I’ve always loved Norah Jones and don’t quite get why people give her such a hard time.
All she did was release one of the hugest debut pop albums of all time, WITH A HANK WILLIAMS COVER. Then she featured Dolly on her follow up. She’s dueted with Willie three times. Outside of that, she’s been on Ryan Adams and Mike Patton albums. I’m not sure what more you can expect from a jazz-pop star.On the other hand, I can stand Green Day. They’ve always felt so forced to me. Billie Joe seems more insufferable than Bono.My first impressions are that this is an odd, kind-of-awesome, but ultimately kind-of-boring album.
Much better than you’d think. This one arrived a couple of days ago and got its obligatory spin. Three songs stood out for a second listen: “Roving Gambler”, “Silver Haired Daddy of Mine” and “I’m Here to Get my Baby out of Jail”.
Billy Joe Armstrong And Norah Jones Foreverly
This is now my 8th version of “Roving Gambler”, so even though this is a very good version, (and Charlie Burnham’s Harmonica is definitely worth hearing) I probably wont play it very often. It’s a keeper, but second tier.Arlo Guthrie’s live version, which features Arlo’s voice and minimal acoustic guitar captures the essence of this song in a way the more complex arrangements obscure. It is a lonesome, “morning after”, sad song full of regret. (Doc Watson and Ramblin Jack Elliot do excellent folk versions, bluegrass versions by Peter Rowan, Country Gentlemen and JD Crowe add different dimensions to the song).I’m still evaluating the other two so I wont opinionate on them except to say they were good enough for me to mark them on my “Listen Again” list.
Absolutely spot on review. First time I heard “Long Time Gone” on my car radio I was amazed how “Everly” it sounded.
Billie Joe Armstrong And Norah Jones Foreverly Wife
And as you point out they steered away from making a Everly Bros greatist hits thing and dug deep into the Bros catalog to focus on gems that aren’t well known. Obviously so much respect and love for the music the Everly Brothers created.(As a side note: The Gibson Billie Joe model acoustic guitar is nearly the same as the Everly Brothers model that daddy Ike created for them from back in the day.
I imagine Billie Joe has been a fan for a long time.). I’ve been waiting for you to review this album, Trig.
My whiff on the Chris Shiflett project kept me quiet.One thing you didn’t mention in your great review was Billie Joe’s recent stint in rehab. From what I understand, it’s during that dark time of reflection that he got the idea of the reboot while listening to Everly Brother’s albums (on vinyl nonetheless). Remember the days when our heroes went to rehab and came out artistically recharged?The choice of Norah Jones was perfect. I want to not like the all-econcompassing vixen, but she makes it so hard! Every year she puts out music more country than the country female acts we are stuck with. Check out Jones’ contribution, “If the Law Don’t Want You,” on the Mary Karr and Rodney Crowell’s KIN project. It’s by far the best track on the album.
Which makes me wonder, if the CMA is having trouble filling out their Female Vocalist of the Year nomination roster, wouldn’t Jones make a better choice than Kelly Clarkson?The album is sleepy and in one sitting can be boring, but I love the idea of how the project developed. However, it makes me wonder (and angry) why no “country” artists couldn’t have thought of this project. Will we have to wait for Katy Perry and Nick Jonas to reboot a Conway Twitty/ Loretta Lynn album? I gained a lot of respect for Billie Joe while attending the Dreamforce Gala concert in San Francisco last week.
It was pouring rain and about 5 songs into their act, the PA system went out. Instead of just walking off the stage, he got the entire crowd singing his better known songs acapella for about 30 minutes until the PA system came back on. The guy is a pro and has been doing this a long time. At age 40, I’ll give him the liberty to try something new. Plus, it’s better than most of what I hear on country radio.
Show of hands if the first time you heard s voice — emanating from a battered copy of Dookie in junior high, say — you fantasized about his taking on early 20th-century country traditionals. Well, maybe, the jazz-folk sensation Baby Boomers love to love, with a noted history of taming everyone from to, saw this one coming. The two bonded during a performance with, and so, on his wife’s suggestion, Armstrong recruited the talented Jones to lend her voice to a full-album rendition of his favorite recording, 1958’s oft-forgotten Songs Our Daddy Taught Us. Mediocre on every count, the resulting set of tracks won’t change anyone’s mind about any of the artists involved (that’s presuming it won’t make you like the Everlys less), but as a fleeting curiosity, it’s precisely what it says it is — with little imagination to spare.First, ditch the “Come Away With Me” jokes — it’s very much a good thing that Jones hopped aboard.
With the singer’s smoky pipes set in two-part harmony with the vocalist’s sorely limited range, an otherwise unbearable experiment is elevated to merely passable. You only have to suffer a solo Armstrong performance on the traditional “Barbara Allen”, which the vocalist tries livening up into a fiddly, heavily strummed, Warning-style acoustic number. The peppy tempo, coupled with the clear-as-day arrangement, effectively neuters everything evocative about the Songs rendition (and that’s if you’re willing to overlook Armstrong’s cringey take on lyrics like “Twas the merry month of May/ When flowers were a’blooming”). Jones is miles more comfortable taking on the tropes of country music given her background (notably 2004’s Feels Like Home), and so it’s her voice that wraps around Armstrong’s in duet, obscuring his distinct California whine and even making for pretty enough harmonies on the tender “Who’s Gonna Shoe Your Pretty Little Feet” and on Bradley Kincaid’s “Lightning Express”.