In her handling, the piece was a lamentation. Her performance soon drew attention on Facebook and YouTube, where she has been posting videos and playing short concerts since March. With the city reopening, three months of stay-at-home orders are suddenly past, and so, it might seem, are the at-home concerts : the ensemble collaborations across Zoom, the marathons of Beethoven and Satie , the crude videos offered by classic rockers as palliatives for restive audiences.
But they represent a distinct moment in her career. Posted on YouTube on March 13th, the video captured the easy socializing that the coronavirus pandemic had done away with: it shows an at-home drinks party, a fantasia of food, wine, friendship, and song, with Jones playing an upright piano and Tweedy strumming an acoustic guitar. And yet the video put her music—again—in the easy-listening category, making it an accessory to jazz-and-cocktails style.
Jones posted her first at-home video the next week. The camera showed her sitting at an upright piano in a plain white room; a man in a plaid flannel shirt sat on a couch nearby, playing a lap steel guitar. She posted a couple of videos of herself on guitar, doing songs from her rock band Puss N Boots. Then she settled at the piano, dug into requests, and found a weekly groove on late Thursday afternoons. The room is sparsely furnished: flat-screen television, guitar, equine bric-a-brac.
Each page carries a link to a different nonprofit organization. The songs are joined with the smallest bits of talk. Not Too Late came together from off-the-cuff recording sessions that Jones hid from her label.
She started various side projects: the countrified Little Willies , the rockier El Madmo. The sentiment could be anxious or anticipatory. She and Alexander had broken up, prompting her to seek an entirely new band and a different sound.
The Fall is darker and smokier than her previous albums, intermingling the spirits of Dusty Springfield and Massive Attack. It was also her first album primarily comprised of her own writing: she credits Ryan Adams, who plays on the album, with encouraging her when she felt insecure about her abilities. I feel bad for everybody involved. You can hear Jones coming into her own on The Fall, her dramatic vocals standing out instead of following the flow as she had on previous records.
Coming out of a relationship that she had been in for most of her 20s was jarring. After collaborating with Danger Mouse, AKA Brian Burton, on his album Rome , she asked if he would work with her on a new set of songs that she had written.
But Burton likes to start with a blank slate. All a Dream was one of the first songs they made together: a noir meditation on the lingering effects of a bad love affair.
They worked on the fly, prompting Jones to embrace roughness, using recordings that she had intended as scratch demos. It was a transformative experience. I went in having faith in the process and the lightning bolt of inspiration that comes with making music. I learned a lot of that from working with Brian.
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