If you like Rufus Wainwright, thank Judee Sill

Back in the halcyon musical days of 2001 (that same year would see the release of Ryan Adams' Gold, Wilco's Yankee Hotel Foxtrot, and Cake's Comfort Eagle), Rufus Wainwright released Poses, an album that is so revered among critics, fans and fellow musicians that it established Wainwright as a top artist of his generation, a footing he still maintains to this day. Listen first to the title track from that album, a gorgeously symphonic, polyphonic elegy that blends elements of classical music, Broadway and folk revival:



It's tempting to believe that a sound as distinctive as Wainwright's, blending so many traditional influences in his creative way, has no predecessor. It's tempting to want to believe he has forged a unique sound. But in music, there is rarely such a thing, and in this case, Wainwright has taken a page directly from the playbook of folk-era innovator Judee Sill.

Who, you ask? Judee Sill's story is tragic and now mostly forgotten, which is unfortunate, because the music she wrote during her brief, troubled life has gone on to influence countless musicians -- Shawn Colvin, Joanna Newsom and, most relevant here, Rufus Wainwright.

As a point of comparison, listen to Sill's symphonic, elegiac ballad "The Kiss" from her 1973 album Heart Food:



To quote Alex Stimmel's excellent biography of Sill on allmusic.com, "Lushly orchestrated, the album featured Sill's voice in multiple overdubs, often in a four-part chorale or fugue." This could as easily describe Poses, which sets itself apart with these exact same hallmarks.

So, if you like Rufus Wainwright, thank Judee Sill, may she rest in peace.

If you like Ryan Adams, thank The Faces

I could write reams about the chameleon-esque tendencies of enigmatic rocker Ryan Adams and the debt he owes to a wide swath of early rock and soul pioneers. (In fact, I did write a very comprehensive review of my favorite of Adams's albums, 2001's Gold. It is still available online here.)

But today, let's talk about a very specific debt Adams owes to Rod Stewart who, along with the rest of the lineup that called themselves The Faces, made four albums that have gone on to influence countless bands that followed, though they were never particularly commercially successful.

The Faces evolved in 1969 from an earlier incarnation called The Small Faces. It was not until they added Stewart and a pre-Rolling Stones Ron Wood to the lineup (and dropped the "Small" from their name) that they really hit their stride. They only released a handful of albums together before Stewart's burgeoning superstardom did them in -- their 1973 album Oooh La La, with its legendary cover art, was their last offering as a group.

But to this day, their influence is undeniable, and can be heard distinctly in at least one of the tracks Ryan Adams laid down on Gold.

Listen first to The Faces' biggest commercial hit, "Oooh La La," paying particular attention to the acoustic guitar lick immediately following the words "Oooh La La," which are finally uttered for the first time toward the end of the song:



Now listen to Ryan Adams sing "Rescue Blues":



You should immediately be able to pick out a very familiar guitar lick, this time played on an electric guitar, but repeated throughout the song like a kind of love letter to The Faces and 1973. The whole album is a love letter to a bygone era and this connection is just one small homage, but it is possibly my favorite moment on the album for its obvious reverence. So, if you like Ryan Adams (this song, at least), thank The Faces.

JPP Review: Ryan Adams, "Gold"

Just filed a new review over Just Press Play and have gotten some very positive feedback already. Loyal LTF readers already know about this album, but for those of you who would like a more in-depth examination of the genius of Gold will want to head on over and check it out.

As usual, here's the first paragraph:

Ryan Adams has worked hard to cultivate his reputation as the new “bad boy” of rock. But to listen to his 2001 release, Gold, he sounds more like a careful student of classic rock, a pedagogue of a truly golden era of rock music. Gold is the equivalent of his Master’s thesis in classic rock. The fact that it earned him as much acclaim as it did is a testament to his ability to learn the lessons of rock music’s past, and reconstitute them into something timelessly appealing.

For the rest, go here.

Here's a very cool, laid-back acoustic version of the first track, "New York, New York" recorded in Jamaica:



And here "Firecracker" gts the same Jamaican treatment:

More great Americana rock 'n roll

In the liner notes to Gold (see previous post), Ryan Adams thanks, among many others, the Old 97s. So I dug out the only 97s album I own, Satellite Rides, and gave it another listen, and I'll be damned if Ryan Adams isn't right - this album makes an excellent companion to Gold. Released in 2001, the same year Adams released Gold, Satellite Rides is the Old 97s at the top of their game. (And bonus points for the retro-cool packaging.)

The AMG says: "...There really isn't a lackluster performance here... The Old 97s sound is organic and natural, and on Satellite Rides they find the perfect balance between their roots in rugged (alt)country and pure chiming pop."

For me, there isn't a bad song on the album, but favorites include "King of All the World,"Rollerskate Skinny," "Bird in a Cage," and "Designs on You."

if you like what you hear, check out lead singer Rhett Miller's solo album The Instigator - also very good and in the Americana rock 'n roll theme.

'Gold' standard

I think that Americana is the natural counterpoint to all the British pop I've been listening to over the past month. It's no surprise that I suddenly can't get enough Wilco, Patty Griffin, Brandi Carlile and the like. But the real question is how did I go this long without discovering the amazing ear-candy that is Ryan Adams's "Gold"? This album's been around for five years already, and it's a modern classic, but it's taken me until this moment to fall in love with it.

If you're in a similar boat, get thee to a record shop! It's the best classic rock album you've never heard. Too many highlights to mention, but here's a video for the incomparably awesome "Answering Bell."



Seriously, forget the mixed reviews this album got at the time of its release and just get ready to fall in love.

SO excited about this

I am lucky to have lots of friends who have great taste in music. One of them who is probably the most influential in opening my eyes to great music, both old and new, once told me a story about her best friend, who was a huge fan of the band America in high school. She was such a big fan that she wrote them a fan letter, and they were so past their prime and happy to have a high-school-age fan that they actually wrote back!

I'd like to think that experience had some influence on their decision to make an album with some of the hottest young musical talent out there right now. The album, called Here and Now, will be released Jan. 16 (one week from today!) and is produced by Adam Schlesinger of Fountains of Wayne and Ivy, who is, in my opinion, one of the greatest pop songwriters/producers alive today. Guest stars on the double-disc set include Ryan Adams and Ben Kweller and the track listing includes some interesting covers, including songs by (another fave of mine) My Morning Jacket and Nada Surf.

Stereogum has posted one of the tracks already, and I love it!

I'm so glad to see a talented band expanding musically and reaching a new audience -
I cannot wait for this release!

Update: To see some behind-the-scenes video of the making of the album, visit the official Web site. How cool to hear that Gerry Beckley is an equally big Adam Schlesinger fan!

Double update: Listen to three tracks from the new album at America's MySpace page!