I'm Not Here - Let's not forget this interesting take on Dylan

There is a lot of energy and talk now around the Dylan biopic A Complete Unknown
at the moment. It is not going to get to New Zealand for another week or so but Dylan himself has endorsed it.  It comes with a new soundtrack that is basically the actors singing the songs in copies of Dylan’s originals.  I am looking forward to seeing the movie but the sound track does not interest me. 

This is not the first Dylan biopic.  In 2007 Todd Haynes wrote and directed I’m Not There.  This is what, in my opinion anyway, is a great and very Dylanesque take on Dylan’s life.  He is presented in different guises by different actors to represent different stages in his career.   The choice of actors is interesting, and the soundtrack reflects both the quirky nature of the movie and the man himself. 

What I like about the soundtrack is that it is a mix of fairly straight covers to some really interesting takes by a variety of artists some of whom you might not normally expect to associate with Dylan.  It is also where you can find some of the last, at least to now, available recordings of Tom Verlaine’s fluid guitar work.  His Cold Irons Bound is worth the price of admission alone.   Other highlights include Antony and The Johnsons’  Knockin’ on Heaven’s Door, The Hold Steady’s Can You Please Crawl Out Your Window?, Cat Power’s Stuck Inside of Mobile with the Memphis Blues Again and Willie Nelson and Calexico’s Senor (Tales of Yankee Power).

However, in truth, every time I play the album a different track impresses me. 

 

 

Favourites - Grant Haua - Awa Blues - Judging a record by its cover

I liked the look of Awa Blues when I saw it in the NZ section at Slowboat Records in Wellington.  I had never heard of Grant Haua but it looked like something worth checking out.  I did a little research, checked out a couple of tunes on Spotify and decided that it was worth buying.   So $50 later and a short work home I was listening to it in full.  

Awa Blues is his first solo album.  Prior to that he was in what has been described as a Power Blues duo (Black Keys anybody) Swamp Thing.  

Not long after we caught him doing a live acoustic show and was impressed by the strength of his presence and show.  Unfortunately it was poorly attended with less than 30 people.  I  have therefore recommended to friends whereever he plays that they should catch him play and so far all have reported being very impressed. It is a pity that he seems to be better recognisd in Europe than he does in his homeland with good reviews, particuilarly in France and he records on a European label. 

The music is a mix of John Hiatt, Taj Mahal influenced acoustic country and Maori blues.  Grant's songwriting is strong throughout with some really great songs. 

When he plays Tough Love Mumma live he tells the great story of getting all his Aunts together, paying them with wine and the fun they had recording the video.  You can certainly see the fun, and love, in the video.  This is the Place portrays well the importance of land or whenua to Maori.  

New Addition - Perry Keyes , Black and White Town

 Perry Keyes has been described as “Redfern’s (Sydney) answer to Bruce Springsteen”.  I get that but while his lyrics reflect some of early Springsteen – think Meeting Across the River, and Backstreets in particular, the content is generally darker and reminds me more of Lou Reed.  His music also tends to be more pub rock than cinematic (but that is probably more a budget issue). 

My introduction to Keyes was 10 years ago now when I picked up his excellent Sunnyholt album.  Check out Home is where the Heart Disease is and the title track from that album.  That lead me to explore his back catalogue and stay tuned for new releases. 

In late 2023 I was notified he was releasing a new album, Black and White Town, and it would be his first available on vinyl.  It is another solid outing and as good a place as any to start.  Worth checking out Streets of a Black and White Town and Last Night in Redfern Park as tasters.