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A quick response is in Rolling Stone 9.26.14, the “40 Saddest Country Songs of All Time:”
#22 “Written in tribute to a friend who committed suicide, “Sweet Old World” is a standout from Williams’ 1992 album of the same name, which is full of contemplations about life, death and all that we leave behind. Williams began writing the song in 1979 after poet Frank Stanford killed himself with three gunshots to the heart, but it didn’t see the light of day until more than 13 years later. Williams told the New Yorker she held the ballad “because my career has been distinguished by other people, who have always been men, telling me what I should sound like.” Sonically, it’s rather simple, with Williams singing into an empty abyss, bursting with both sadness and anger.”And an in depth, intense discussion of her Southern upbringing and ‘love affair with loss’ is covered by Bill Buford in The New Yorker, 6.5.00:
https://www.newyorker.com/magazine/2000/06/05/delta-nightsBACK TO TO
In the MUSIC tab under STORE, there is a preorder offer with description of the rerecording and the additional tracks:
This Sweet Old World CD [PRE-ORDER]
On September 29th, three-time Grammy Award winner Lucinda Williams will release This Sweet Old World – a re-recording of her beloved 1992 album Sweet Old World – to celebrate the 25th anniversary of its release.This Sweet Old World features updated interpretations of songs such as “Prove My Love”, “Sidewalks of the City”, “Memphis Pearl” and “Lines Around Your Eyes”. Williams breathes new life into classics “Pineola”, “Sweet Old World”, “Something About What Happens When We Talk”, “Little Angel, Little Brother” and Nick Drake’s “Which Will”. “He Never Got Enough Love” is transformed with additional verses, new sound and new title, “Drivin’ Down A Dead End Street”, which was the song’s original title.
The arrangements on This Sweet Old World are tighter and rawer than the original and feature Williams’ fantastic touring/studio band: guitarist Stuart Mathis, bassist David Sutton, and drummer Butch Norton. Guitarist Greg Leisz, who actually participated in the early sessions for the 1992 album, adds his masterful playing to the new recordings.
As if re-recording an entire studio album was not already an unprecedented move, Williams and company also chose to re-record the four tracks that were not included on the original release. This Sweet Old World features new versions of “Factory Blues”, “Dark Side of Life”, John Anderson’s “Wild and Blue” and the John Leventhal/Jim Lauderdale-penned “What You Don’t Know”.
NOTE: This is a pre-order and will ship to arrive to you on or around the Sept 29 release date. All items in your order will ship at the same time. If there are other items in your order that you would like to receive earlier, please place a separate order.
RE Hot Blood – after singing the final verse “fixing your flat with a tire iron”, she shrugged her shoulders and chuckled, acknowledging the ‘silliness’ of those lusty references to casseroles, tire irons, laundry and drivin’.
Also, there was a nice preview interview in the weekly Columbus Alive: http://www.columbusalive.com/entertainment/20170802/feature-interview-lucinda-williams-at-new-valley-dale-ballroom
I was a little surprised how apolitical her comments were, given current times. I guess she uses songs like Foolishness and Rockin’ the Free World to speak out for her.
I sure enjoyed Angel, dedicated to Glen Campbell.
Last night (Aug. 19), Doug played with John’s band on David Letterman’s show. The tune ‘Wildfire’ sounded very nice! Here’s a link to the performance:
http://www.rollingstone.com/music/videos/john-mayer-lights-folksy-wildfire-on-letterman-20130820that tiara wasn’t very large and the angle of the photo shot is steep,
but if you look closely I think you can sorta see the spikes of her regal moment.
I really enjoyed the show, Lu was certainly at ease, it seemed like a living room showWest Words, thanks for the recap. I was also in attendance, was also there when Tim Easton opened for Lu & D Pettibone. Have never seen her completely solo, it was very cool, didn’t expect a solo Joy to be so powerful (altho I could hear I wasn’t the only audience member quietly adding the guitar lines of Kenny Vaughn/JJackcon/DPettibone 😆 ). Very attentive crowd, many were in advanced stages of middle age, maybe a little too quiet for a Saturday night, didn’t pick up much edginess in mid-balcony.
A couple additions to your notes:
in one of her several rants on political correctness, she said she made it clear to the Boston reporter she was QUOTING Hank Williams but the article messed that up & it appeared politically incorrect.In the intro to Joy she referred to the ‘small monarchy’ and to John ‘tan man’ Bonehead who was off golfing in Florida at an undisclosed location during the Wisconsin uprising. Yeah you right!
