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Anyone know what time Lu will be playing UK (GMT) time? I tried working this out but this got me kind of flummoxed as to whether it was -5 or -6 hours.
This show has been aired quite a few weeks in the Uk. As far as I know it has yet to feature Lu. And maybe won’t if it is filmed over here. Hoping that miracle might happen, though.
I think its great that some in-depth and thoughtful reviews of the new album are being posted now – this shows what intelligent fans Lu has. For what’s its worth I thought I’d give my views. These, of course, are likely to change the more I listen to the CD.
The debate over the rockier tracks and the more wistful songs is an interesting topic. I’ve not minded when Lu has rocked out on previous albums. On Little Honey, however, I’m not so sure. Lu’s vocals on Real Love, Honey Bee and Jailhouse Tears seem a little forced at times, as if she’s trying too hard. Yet when I heard the last two tracks live she really matched the excellent playing by the band. Maybe they just sound better live?
As for Costello’s vocal on Jailhouse Tears: having listened to the track a few times I can’t say it is growing on me. His voice just isn’t that appealing and overall the song doesn’t have the same humorous feel it does when played live.
The slower tracks really grab my attention. Wishes Were Horses is a beautifully sung and written track,
And Why We Marry has a lovely last verse. Here can be heard all of Lu’s greatest strengths – her phrasing,
the catches in her voice, the emotion.I would place this album as just below Lu’s best. It’s still a very good recording and new to my ears, but because her standards are so high I don’t rate it along, say, Car Wheels or even WWT. It does have some excellent tracks and majestic playing by the band.
This has been an excellent discussion, with plenty of strong opposing views. This just shows how passionate people are about Lu’s music.
I don’t have a problem with people criticizing recent, gigs, albums etc. That’s their right. But then I’m a late(ish) convert and am still mad about her. It would, however, be useful for posters to the site to realise everyone has a view, and can disagree – politely – with others if they choose.
Not sure if I’m looking forward to Costello’s honking voice on Jailhouse Tears. Anybody else at all would have been better.
I saw the clips of the gig on Youtube. I’m surprised it was a large venue – from the film it looked like it was in a hotel lobby somewhere. Then again there was no shots of the crowd.
She looked and sounded fantastic.
Is it me, or are some of the live song recordings better than the originals. I’m thinking of a track like Passionate Kisses on Youtube where Lucinda does it acoustically and without the rather clunky production on the album.
Also, a song like Crescent City seems to benefit from being beefed up when played live.darkhorse wrote:is there any chance someone could post the article?For anyone interested in reading a copy of this article, I’d try Amazon for a copy of Da Capo Best Music Writing 2001. Mine cost virtually nothing but I had to pay about 12 US dollars postage for it to be delivered to the UK. I too struggled to find it on the New Yorker website; or anywhere else, for that matter.
I’m glad everyone seemed to find the article as interesting and, as a whole, as sympathetic as I did. However, if Buford, quoted members of her family without her consent then I agree she had a reason to be bummed about the article. Maybe she was just a bit too trusting overall. I didn’t know much about her mother’s problems before, but having heard more now, and having depresion myself, I can feel only more connected to Lucinda’s music.
Big up to Rachel for the ‘lost’ verse as that illuminated the song even more than I already knew.
Shame about their being no concerts in Europe this year. Maybe all of us in the Uk should club together and pay for Lu to come across – and play in my living room of course. The band can even crash there…
just type in lucinda williams+david letterman into a search site and you should get film of Lu singing Are You Allright
