there once was a man from nantucket original lyrics

But it’s the midnight, gumshoe vibe of Brad Wilcox’s muted trumpet that ultimately asks the question: Why exactly did you do that voodoo? RIP JTE.10.

Squalls of cat-yowl guitar quantify accents of shivery vibraphone. Darkness engulfs a lugubrious Bruce Piephoff vocal that unfurls atop a graveyard groove. This evocative wink-and-a-nudge song by Justin Townes Earle moved from parody to tribute when Earle died of a drug overdose soon after this was recorded. The Saint of Lost Causes (Performed by Bruce Piephoff) This farewell to a troubled friend now took on darker meaning - something reflected by the song’s accelerated tempo the probing urgency of Josh Daniel’s vocal and the edgy guitar solos by Rob Slater and Joey Recchio, whose explosive ending solo perfectly conveys a frantic state of mind.ĩ. This song, from the 1995 album 'Fade Away Diamond Time,' jumped out. We decided to include a Casal song to pay tribute and as a way to underscore the project’s purpose. Singer, songwriter and musician Neal Casal took his life as sessions for this project began. The song deftly conveys a host of complex emotions in just 47 seconds: Beauty, wonder and, at the end, a moment of contemplation before vanishing into what awaits beyond. But it is this abridged version that deftly enshrines the essence of the song’s title - a metaphor for the when the soul departs at the moment of death. It is actually a sliver of a longer piece (the full performance can be heard on May’s excellent 'Blues & Gospel' album). This lovely instrumental is by guitarist Peter May. Short Flight To Jordan (Performed by Peter May) Accordion? Cello? WTF? It will haunt your dreams.7. And Chris Garges’ gonzo arrangement takes a punkish foundation and turns it hallucinogenic. Drafted on 24-hours notice, singer Bruce Hazel (Temperance League) delivered a vocal worthy of a straitjacket. Who knew that Pills, a favorite song from the New York Dolls’ debut album, was written by…Bo Diddley?!! The DeFactos didn’t - not that this info altered the course of this funhouse-fever-dream version. The ending punctuation will make you smile.6. Weightless guitar solos by Rob Slater (first) and Joe Louis DeFacto (last) are marvels.

And Mike Strauss’ narrative vocal inspires astonished double-takes that bring a surreal touch to this tale of life unraveling. This revision of an obscure Robin Trower song will satisfy all who ponder what would happen if Mark Knopfler sang with Pink Floyd.

Dreams That Shone Like Diamonds (Performed by Mike Strauss) Voila! Getaway Car reimagined as The Who, circa 1967-72, replete with a roared vocal from Don Dixon, Chris Garges as Keith Moon and Joe Louis DeFacto’s knick-and-a-wink tribute to Pete Townshend. When Snüzz granted permission to interpret the then-unreleased song, he mentioned he had The Who in mind when he wrote it. Snüzz is one of North Carolina’s most beloved songwriters, and Getaway Car is one of his best songs. That Rodenbough also sings all the harmonies and plays all the string lines makes this one of the project’s most endearing performances. It’s the humanizing vocal by Libby Rodenbough (Mipso) that lures the listener as it juggles weight with sweetness. An upbeat arrangement brings buoyancy to lyrics that ask hard questions but give no answers. This song, first recorded by the band Travis, offers a compelling first-person look at the confusion of depression. Why Does It Always Rain On Me? (Performed by Libby Rodenbough) The ending sonic maelstrom is the detonation of a Chris Garges assortment of guitar pedals at the feet of guitarist/accomplice Joe Louis DeFacto.3. The stacks of lush vocal harmonies, courtesy of Snüzz, float atop a melodic bass line that nods at dB’s bassist Gene Holder. It boasts an accelerated tempo, guitars that bite instead of jangle, and shotgun drums that reflect the ingenuity of Keith Moon. This stylized arrangement of a solo Peter Holsapple tune, crowned by a wonderful Snüzz vocal, pays homage to the PH factor, circa The dB’s. It’s a potent statement made more so by singer Māya Beth Atkins’ worldly vocal (unbelievably, she was still in her teens when this was recorded) and guitar work that would make Neil Young smile.2. The song explores the duality of addiction, comparing romantic obsession to habitual drug use. This swaggering Americana tune was the first track recorded for the 'Be Good To Yourself' album.

There once was a man from nantucket original lyrics