Tag Archives: Folk

Mid-week Mixtape Redux: Jack Carty

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One of the great delights of hosting a radio program like In The Pines is that I get to talk with a lot of musicians about their craft, as well as find out what songs/ artists/ albums make them tick. As a lifelong sufferer of Obsessive Compulsive Song Disorder (that would be – the repeated listening to one song over and over and over and over, so as to get inside and know it and breathe it) I am fascinated to learn the songs that other songwriters have an enduring affection for. With that in mind, I’m reviving a long forgotten but much loved section of the blog that asks songwriters to write about five of their favourite tunes: The Mid-week Mixtape. 
 
Our first contributor is an impressive young troubadour from Sydney, Australia: Jack Carty. He writes beautiful,  thoughtful folk songs with the slightest hint of country thrown in for good measure. His latest album, Break Your Own Heart is, literally, a heartbreaker. 
 
Here is Jack performing the album’s title track:
 
 
And here is the mix he kindly put together for In The Pines this week. Cue heartbreak (again). 
 
The Predatory Wasp Of The Palisades Is Out To Get Us! – Sufjan Stevens
 
I can’t even remember how I found out about Sufjan Stevens. But it was sometime in 2008 or early 2009 and I remember listening to the album Illinois every time I could for the next year solid. I love the instrumentation and the epic scope of the arrangements. It’s bombastic but still classy and so full of feeling. I don’t think there is anywhere on the record that this is is better exhibited than right here… Gotta love the counterpoint.
 
 
Left & Leaving – The Weakerthans.
I first heard this song on a live album recorded at The Burton Cummings Theatre in their home town of Winnepeg, Manitoba. It has one of the most biting lyrics I have ever heard and John K Samson’s voice always sounds really sincere to me. He uses amazing imagery to describe his inner and outer environment in a really engaging and moving way. It’s so sad, but so resigned… “I wait in four/four time, count yellow highway lines, that you’re relying on to lead you home” – that line has swum around in my head for days at a time.
 
 
Gillian Welch – Wrecking Ball
I love pretty much everything Gillian Welch does. This track has so much attitude (from the sloppily played drums and fuzzbox guitars to the scratchy fiddle soloing in the right channel throughout its entirety) that it would be cool even if it didn’t have one of the best journey(wo)man lyrics I ever heard. She makes it sound easy, like she isn’t even trying, it’d almost be frustrating if it wasn’t so good.
 
 
Elliott Smith – Pitseleh
I love the way this song is simultaneously filled with so much sadness and so much love. It drips with doubt, loneliness, pain and an honest, quiet, beautiful affection. I have always loved the way Elliott seems to play the guitar like you would a piano, with a heavy emphasis on a constantly moving and repeated “bass line”  underneath delicate ornamentations on the higher strings. It seems to lend a timeless, almost baroque feel to an already gorgeously timeless and moving sentiment. This song has helped me through a lot.
 
 
Bright Eyes – Classic Cars
Connor Oberst’s ultra poetic turn of phrase, Mike Mogis’ guitar flourishes, a rad bass line, Hammond organ, honky-tonk piano, a great story, some questionable backing vocals and most of all those buildups in the chorus! The first time I heard this I listened to it 5 times in a row, the opening stanza of the opening verse had me hooked. It is delicate, angry, political, upbeat and incredibly deep all at once. It’s a classic, man.
 
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JOE PUG: Return of the playwright/ poet/ messenger

The Joe Pug story goes a little like this: clever kid with a way with words goes off to college to learn how to be a playwright. Makes it through a few years of study. Learns a thing or two about plot, structure, character. Learns how to be damn fine storyteller. Also learns that he doesn’t really care for college. He is unhappy. He wants out. He wants to pick up the guitar with serious intent.

And so the clever kid does what feels right. He drops out. Drives to Chicago. Crafts objects out of wood during the day. Crafts songs by night. And the rest, as they say…

Australian fans who caught Pug’s captivating shows here late last year do not need to be persuaded of the performer’s gift. With a cheeky grin and a good dose of Yankee charm he wooed his audience well. But the young troubadour showed more than just stagecraft. He delivered stories that were tender, pensive and moving. Deceptively simple images became plot points, three-minute soliloquys carefully reached crescendo. Slowly, surely the tragedy upon which all great Americana songwriting is built began to unfold.

When I spoke to him long-distance a few weeks back ahead of his current Australian tour, it seemed perhaps unsurprising then to find that the singer, who is currently writing songs for his sophomore album, had just begun reading perhaps the greatest tragedy of them all, Hamlet.

“I’ve never read it before,” he laughs down the phone.

“It was definitely compulsory reading, I just didn’t do it.”

I don’t blame him. I majored in English and spent as much time studying as I did actively avoided a whole bunch of required reading.

“The fact of the matter is I wasn’t ready to read Hamlet then. That’s one of the bogus things about school, you have to read books at certain times. Books and records, it’s very important that they come to you at the right time, otherwise they are totally meaningless.”

It’s a good point, well made. Readiness, as distinct from preparedness or willingness. Does he feel ready to record the follow-up to Messenger?

“I’ve been writing it for the last three months. Just putting a lot into the writing of the songs. Going in and cutting the record to me is the easiest part. This is the hard part right now, in the trenches, slogging out each song.”

Taking a break from the battlefield of crafting songs, Joe Pug has found his way back to Australia once more for a March tour. But even though we might be feeling ready for new tunes, I’m told those new songs will remain in the vault for a little while yet.

“Every time I play a new song someone will post it on youtube or something and then it’s not a new song anymore. I’m going to keep this album pretty close to my chest.”

And so the new stories stay safe guarded for now. But the old tunes remain: solid and aching and true. Well worth the price of admission. Well worth a few hours of your time. Well worth being ready for.

Joe Pug’s tour details are here. Thank me for it later.

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From the Vault Friday

In anticipation of her first ever Australian tour, I’d like to share this vintage video of the sublime Nanci Griffith. The sweet-as-apple-pie Texan has been making records since 1978 but has never managed to make it Down Under…until now.

Like Bruce Springsteen, Griffith makes music that seems to hit at the heart of the American experience. Her songs tells stories of nostalgic longing, love lost and gained and lost again. When I’m imagining the childhood in America I never had, I think of Nanci Griffith and her bittersweet stories of growing up in Texas.

The song on the youtube video above is actually called ‘Love At The Five And Dime’ but I couldn’t find an accurately titled version of this online with the same adorable story at the beginning. Enjoy it anyhow!

Nanci Griffith will play The National in Melbourne on March 10, and the Metro Theatre in Sydney on March 15.

And… I’ve put in a request to interview her on In The Pines, so fingers crossed.

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