House Where Nobody Lives
You know who this is for! . . . . for the Sealyman but the rest of you take a listen too!
Enjoy!
I did!
My new single 'White Geraniums' is now out in the world!There are no neat endings, and nothing stays fully closed. Traces of our past mingle with the present: a happy birthday inscription from an ex on the first page of a book you need to reference; a kitchen knife going blunt because they took the sharpener and you keep forgetting to buy a new one; the pair of earrings they bought you made of brown sea glass. Sometimes it's nothing material: a memory, triggered in the moment, that reminds you what once was. Letting go is hard and it’s best not rushed. It asks to be faced, breathed through, accepted, sat in, have its edges felt, grown from.Recorded at The Wool Hall, Beckington with Luke PotashnickVideo by Robin BottrellHope to see you soon.Emily
There's a line in this song that carries most of the weight: "I can sit in the pain, it still rhymes well with rain". I'd had the idea that the video should simply be me sitting on a chair out in a field singing the song. On the day before filming the video, life once again - and this time quite literally - came breaking in; I was knocked off my bicycle in a hit-and-run incident, which left me with a fractured tibia. The filming plans were put on hold. Once I was able to hobble around in a moon boot, with a crutch, the video became about the struggle through real physical pain to carry that chair up a hill to a place where I end up sitting, looking out into the sun. Filmed and edited by Robin Bottrell Recorded at The Wool Hall with producer Luke Potashnick
Lyrics:
I can fall, face up I won’t kick,
I won’t buck I can sit in the pain
It still rhymes well with rain
To be clear, you are gone
Got the crossword wrong Red pen, red pen
Thought we’d pull through I’m a backseat driver,
I can’t stop you Throwin’ eight years, three months out the window
White geraniums that won’t get watered
It’s a lot to let go of I won’t call anymore
About the crack in the wall
About the bread that I burnt
Or the rush hour to work
There’s a note that I found In a book on the ground
And it read as if we would pull through
I’m a backseat driver,
I can’t stop you
Throwin’ eight years, three months out the window
White geraniums that won’t get watered
It’s a lot to let go of
A lot to let go of
White geraniums that won’t get watered
It’s a lot to let go of
A lot to let go of
I can fall, face up I won’t kick,
I won’t buck I can sit in the pain
It still rhymes well with rain
Em says on her web page
"There are no neat endings, and nothing stays fully closed. Traces of our past mingle with the present: a happy birthday inscription from an ex on the first page of a book you need to reference; a kitchen knife going blunt because they took the sharpener and you keep forgetting to buy a new one; the pair of earrings they bought you made of brown sea glass. Sometimes it’s nothing material: a memory, triggered in the moment, that reminds you what once was. Letting go is hard and it’s best not rushed. It asks to be faced, breathed through, accepted, sat in, have its edges felt, grown from.
No secrets as to what this song is about…writing it, then singing it regularly, certainly helped me move through the process of letting go.
For the track itself, I went back to The Wool Hall in Beckington, Somerset, where I made ‘Fragile as Humans’ with producer Luke Potashnick, and recorded it live.
It felt like a release to capture the song. It feels like one now to share it with you.
https://www.emilybarker.com
we love Em
💜 and hope it is not too painful . . . . . 💔 💚 ❤️
Here’s a cheery little number reflecting my mood
Subterranean Homesick Blues (Number 10 Take 1)
Bob Dylan
The Bootleg Series Volumes 1-3 [Rare & Unreleased] 1961-1991
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...Released in 2009, Goodnight Oslo isn't going to force listeners to reassess their opinions about Robyn Hitchcock at this stage of the game, but it's also an album that shows the man is still in firm command of his abilities, and in many respects it's as consistently pleasurable as anything Hitchcock has released since the mid-'90s. Like 2006's Olé! Tarantula, a large share of the credit for Goodnight Oslo's effectiveness is the contribution of Hitchcock's backing band, the Venus 3 -- Peter Buck on guitar, Scott McCaughey on bass, and Bill Rieflin on drums. While this is only the second studio album the three have made with Hitchcock, they've worked with one another long enough to have the feel and unspoken communication of a real band rather than a handful of sidemen, and along with being excellent musicians, they bring out the best in Hitchcock, filling out his melodies with taste and enthusiastic energy while helping him bring some different flavors to these sessions, like the Memphis-style R&B undertow of "What You Is," the acoustic country shuffle of "Hurry for the Sky," and the slinky, off-kilter romance of "TLC," along with Hitchcock's traditional angular guitar-centered pop. On Goodnight Oslo, Hitchcock has eased back a bit on the lysergic surrealism that was long his trademark, instead aiming for an air of sensuous menace that suits this music very well indeed, though "Intricate Thing" and "Saturday Groovers" show his eye for the offbeat is as sharp as ever. Goodnight Oslo is good enough and engaged enough that you can hardly believe Robyn Hitchcock has been making records like this since 1979 -- and who knows, maybe he can keep making albums this entertaining for another two or three decades. - Review by Mark Deming
...It actually begins with a 1958 tribute to Buddy Holly. There have been many tributes to him but this is the only one I know of that was recorded while he was still alive.
a deceptively great track and melodic song and then some . . . not a totally convinced Beefheart fan? Try this for (hat) size!
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The Rough and Rowdy Ways Tour: 2025 Edition is nearing its end. But as of yesterday afternoon, Dylan has seemingly announced the tour will continue next year:
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That announcement surely gave an extra jolt of excitement to last night’s show in Coventry, England. Another jolt of excitement: A pedal steel spotted before the show on stage! It turned out to actually be a lap steel (no pedals) set up on a stand, and was played not by a new person, but by guitarist Bob Britt on a number of songs. Can’t wait to hear the tape; it’s the first time someone’s been playing steel since Donnie Herron left early in 2024.
Adam Selzer, who last reported in from the wild Outlaw 2025 opening night, was on the ground in Coventry last night. He sends in this scene report and travelogue from the start of his run of UK dates, starting in Swansea the previous show two nights before. Here’s Adam:
One of the great pleasures of following Dylan is ending up in towns you’d never think to visit. I hadn’t been to Wales before at all, and if I had, I wouldn’t have thought to go to Swansea, a charming seaside town with excellent ice cream and one of the castle ruins that seem to come standard in Welsh towns. Of course, all towns in the UK feel charming to me; they’re nearly all walkable, with populations clustered around a city centre. It’s a contrast to the spread-out nature of American small towns, where people drive for every single trip and seem to want to be as far from the neighbors as possible.
Before the Swansea show, I took my seat with Graham G, said hi to the other regulars such as Frederick and Ian (how cool to land in a new country and already have friends!), and watched Bob appear. He looked so different from the last time I saw him, now unhooded and looking like a badass in black blazer over a Welsh dragon t-shirt.
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