#Gary Stewart

[ttexed]

(article via Josh Lewellen)

I saw Gary Stewart at the Longhorn Ballroom in Dallas very near the same time as when this article from "Country Scene USA,” Oct 1980, was written. Gary, with a broken leg in a plaster cast, was still a dynamo onstage. Tossing off his guitar late in the set, & quickly hobbling over to a piano onstage, & launching right into "One night of sin, is what I'm now paying for..." just pounding away on the keyboards. Not a tune he regularly played, his band members looked at each other & started to follow. I'm sure they were used to the mercurial Gary being Gary, & pulling out old chestnuts as his mood dictated...

[infiniterichesinalittleroom]

I still listen to the same old black-and-blue blues. Tommy McClennan, Lightnin’ Hopkins, the Carter Family, the early Carlisles. I listen to Big Maceo, Robert Johnson. Once in a while, I listen to Woody Guthrie again. Among the more recent people, Fred McDowell, Gary Stewart. I like Memphis Minnie a whole lot. Blind Willie McTell. I like bluegrass music. I listen to foreign music, too. I like Middle Eastern music a whole lot. Umm Kalthoum. Nana Maskouri.

Bob Dylan • Playboy

[t-tex-edwards]

A cover of Gary Stewart's "Single Again" from the upcoming T. Tex Edwards album THE KING OF ISOLATION featuring Eric Hisaw & Dan Hoekstra on guitars, JJ Barrera on bass & Shawn Peters on drums. Recorded by Steve Chapman & Ron Flynt. Vinyl release on Flak Records scheduled for sometime in the near future. Photo by Vern Evans.

[urban-troutfitters]

one of the freshest covers FOR SURE and a loving tribute to the late artist.

original by Gary Stewart 🕊️

[pois0nedcandy]

thinkin about my bf that went out of town (for a few days lol) </3

[sinceileftyoublog]

Pernice Brothers Interview: Writing to Live

Joe Pernice; Photo by Colleen Nicholson

BY JORDAN MAINZER

The album cover for Who Will You Believe (New West), the first album in 5 years from Pernice Brothers, features a close-up photo of a man who doesn't "care about being seen." That man, of course, is Joe Pernice, who formed Pernice Brothers over 25 years ago after the breakup of his beloved alt country institution Scud Mountain Boys. But while Pernice may be indifferent-to-averse to the idea of celebrity or even public persona, he's not trying to remain hidden, per se. The photo that graces the cover doesn't attempt to be flattering, nor a clean-cut design: It asymmetrically cuts off the brim and top of his hat, his right glasses lens frame, the bottom of his chin, and the back of his head. (Of course, the band name and album title is superimposed on his face.) It makes you pay more attention to Pernice than you otherwise would. What is he looking at? Why? In a way, it really fits Who Will You Believe, a record that exists on a separate plane from today's singer-songwriter albums that tend to be straight diary entries combined with biography or filled with Easter eggs and callbacks. Instead, Pernice, an accomplished writer in many different mediums, shows that he can write about almost anything. The possibilities are infinite.

When I spoke to Pernice over the phone earlier this month, he let me know that he was in the middle of a particularly fruitful period. "I've been writing more songs than I ever have in my life," he said. "I go through these periods where I have a manic blast." Indeed, whether or not Who Will You Believe was born from one of these spurts, the album gives you a sense for how he works. Neko Case duet "I Don't Need That Anymore" started with an off-hand remark his mom made about having a good figure when she "needed it;" Pernice took the line and turned it into a devastating country track about a dying love, replete with twangy, chiming guitars, string swells and steady mallet percussion. He processes the deaths of three important people--his cousin, Rhino executive Gary Stewart, and David Berman--in stunning strummer "The Purple Rain", referencing the last one not with cutesy lyrical winks and nods but ones that even casual Silver Jews/Purple Mountains listeners will pick up, respectfully showing his intentions to pay tribute. Of course, Pernice still finds room for ambiguity, clever wordplay, and fun atop it all, a true songwriter's songwriter. His penchant for cultural allusions remains strong, even in conversation. Referring to a recent day where he wrote 5 songs in a day, 3 of them keepers, Pernice said, " I felt like Sylvia Plath at the end of her life when he was in a manic state of making shit," before clarifying, deadpan, "That was before she put her head in the oven."

Sure, there are some tracks on Who Will You Believe that are purely sad or strange. Pernice croons on the slow "What We Had", atop acoustic guitars, tremolo electric plucking, and tambourine, "It's a comedy of errors, but it's sad / I think of what we had / It's hard to watch good love go bad." Instrumental waltz "A Song for Sir Robert Helpmann", meanwhile, juxtaposes strings, keys, drum rolls, and wordless vocalization, creepy and lurking. Its mood is inspired by Pernice's fear of Helpmann's role as The Child Catcher in Chitty Chitty Bang Bang. "That movie scared the shit out of me when I was a kid," he said. "[Helpmann's] absolutely terrifying." Though these tunes occupy a singular mood, though, for the most part, Who Will You Believe is a fun album, Pernice's brightest and loosest sounding in years. "I always play with people who are good people. I've never made a record with an asshole," Pernice said. "When you get really good players who aren't just phoning it in, it's really cool." Past collaborators pervade the album, such as Joe's brother Bob and wife Laura Stein (formerly of Halifax indie pop band Jale). Toronto-based choral group Choir! Choir! Choir! help Pernice give his eulogies on "The Purple Rain", ending the album on an uplifting note. And his pop sensibilities, Beatles, Bowie, and Bacharach influences shine on "Not This Pig" and "A Man of Means", songs with baroque breakdowns and bouncy drum fills.

Ultimately, Pernice is one of those songwriters who views music as a satisfying puzzle. Though he writes all of his songs on acoustic guitar, theoretically making them easy to play solo live, the tunes undoubtedly shapeshift as he records them. He describes a song like "Hey, Guitar" as "a balls-out, heavy tune"--it's got massive electric licks layered atop jangly strumming and shiny keys, and ripping distorted squalling between verses, fading in and out at the end like an AM radio hit. "I don't think [it] will translate [live]," he said. "[But] you don't know whether [it's gonna be a train wreck] until you do it. Every song was a new song the first time." You can bet he's looking forward to figuring it out, one of the most thrilling parts of music to him. After all, it's only now he's just beginning to dive into an almost 20-year-old song, "Say Goodnight to the Lady" from 2005's Discover A Lovelier You. "I've been working on it lately, and it's started to feel like my song."

Pernice; Photo by Colleen Nicholson

I knew that Pernice had written at least "The Purple Rain" as part of a mourning process, but reading about the context behind Who Will You Believe, I tried to see if I could construct something more broad. Before writing the record, his son retired from playing high-level youth baseball, which Pernice coached, and Pernice went from being on a baseball diamond most of the week for over half of the year, to not being on one at all. As such, I asked him whether songwriting is a way for him to generally process any sort of life change. As it turns out, it's much more. "I write songs so I can manage to function," he said. "It's just a necessary thing for my well-being. It could be anything. The act of doing it is the thing that makes me feel good and not crazy. A lot of times, the subject might not even be all that important in that regard." And so I thought back about the album cover, wondering what Pernice was gazing at during the photoshoot, realizing that, too, doesn't matter. What he feels about songwriting is the way I feel about listening. Both of us--all of us--are just trying to take in the world as best as we can.

[twisttop]

Wednesday Live at the Basement East

Wednesday came through Nashville last weekend and it was one of the best shows I think I've seen this year. Perhaps it was because of how much I had been anticipating seeing this show, because Rat Saw God is one of my favorite records this year. But everything about this show was magical – their set, the crowd interactions, how excited they were, the storytelling, everything was captivating. Plus, it just sounded so good. Everything was so full and cut through really nice.

I was going to bring my tape deck to record the whole set, but as I was leaving I found that the record button was broken, so I ended up just using a voice memo for it. I think it cuts through well, for what it is anyways.

The set was full of my favorite songs, numbers from Rat Saw God but also Twin Plagues and their cover album, Mowing the Leaves Instead of Piling 'Em Up. It's crazy to see a band you've only known about for three years playing deep cuts from their discography.

The crowd was also a crowd I felt very lucky to be apart of – attentive and interested, hanging onto every word that Karly sang. Part of this I think is also a result of Karly's ability to create such a welcoming space for the crowd: during "Got Shocked" she made a point to make sure everyone was comfortable who was in the pit and even brought out and handed out waters to those who needed it. A small act that goes a long way for a show like this.

It also reminded me of where they came from. I first heard about Wednesday when they were posting numbers and information about how much money they had made on tour, making it public and calling for change, especially from corporate tycoons like SXSW and similar fests that take full advantage of artists and don't pay nearly enough. I thought it was so cool that they weren't afraid to do this, even though people were getting mad at them on the internet over it. Wednesday is a band born out of the DIY scene, and to see them interact with the crowd as such despite playing at the Beast was a really cool experience.

Anyways, here's the voice memo boot I got from the show. Pardon any bullshit. Setlist attached as well, play it loud!

-hapago

WEDNESDAY LIVE IN NASHVILLE 5/21/2023

Hot Rotten Grass Smell

Cody's Only

Twin Plagues

Formula One

Birthday Song (first performance on this tour)

Chosen to Deserve

She's Actin' Single (I'm Drinkin' Doubles) (Gary Stewart Cover)

How Can You Live If You Can't Love How Can You If You Do

Bath County

Handsome Man

Maura

Quarry

Turkey Vultures

The Burned Down Dairy Queen (w/ Cryogeyser)

Got Shocked

Fate Is...

Bull Believer

[calusnt]

"run, little boy"/j So hey guys Have this thing I made. This piece gave me a little bit of g ri e f but yk, it's all good Tell me how many cogs you see!!! 💥💥(there aren't many at all. There were going to be more but I got sidetracked)

[hotvintagepoll]

Propaganda

James Stewart (It's a Wonderful Life, The Philadelphia Story, Mr. Smith Goes to Washington)—the thing about Jimmy Stewart is that for a weird-enough looking guy, he is yet somehow SO hot and SO believable, ALWAYS. He always plays the same person—he's always, well, Jimmy Stewart—yet that person can be a murderer, a dark cynic, a naive idealist, the boy next door or an old man who knows better, and every one of those is hot. I would jump his bones in a heartbeat

Gary Cooper (Wings, Mr Deeds Goes to Town, High Noon)—the amount of cunt this man serves [pics attached below]

This is round 3 of the bracket. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage man.

[additional propaganda submitted under the cut.]

Gary Cooper propaganda:

James Stewart propaganda:

“Here he is next to Grant, in what I believe to be a promotional shot for The Philadelphia Story. Please don’t get distracted by Grant (or do, i’m submitting him next).”

“He’s a nice guy and a good guy and deserves all the happiness and joy ever! Classic boy next door/class president kid that everyone loves for real. Stand-up for the Little Guy vibes. With a charming fun side!!”

[underratedgrapeju1ce]

behold

-

bonus one (spoilers for Room 103)

[citizenscreen]

Hollywood legends celebrating New Year’s Eve 1957 at Romanoff’s. Clark Gable, Van Heflin, Gary Cooper, and James Stewart

[silverfoxstole]

However you feel about it, yesterday it was apparently 24 years since the recording of Minuet in Hell.

Some photos from the BF Instagram, others from my files.

[silvr-skreen]

Me n the Homies walking out of Layer 3

[justgoji]

I spent all night on this-

[the-friendliest-freak]

Just a heap ton of Shipwrecked stuff before I’m gone - should be back in around two weeks, just getting internet issues fixed.

[silvermarmoset]

ok i have to know

this obviously doesnt cover everybody but i just want to see the types people still go for