Gibbard and Ferrar Channel Kerouac's Spirit Through Music

Jay Ferrar, founder member of Uncle Tupelo and Son Volt, a father of the alt. country movement and Benjamin Gibbard, founding member of Death Cab For Cutie and The Postal Service, in many ways an indie rock king, have teamed up on an unlikely project, a tribute to Jack Kerouac through music. One Fast Move Or I'm Gone showcases Kerouac's own words and images and Ferrar and Gibbard create a dreamy palette for them to land on. Though partially a soundtrack to a documentary film of the same name, this album easily stands on it's own as an enjoyable piece of music.

"California Zephyr" is an uplifting song with Gibbard on lead vocals. Slight reverb on the electric organ and acoustic guitar create a hopeful tone, reflecting the lyrics about breaking free from your past.

Ferrar lends his trademark melancholy vocals, with that edge of a twang, to "Low Life Kingdom." Gibbard provides backing vocals. Mournful steel guitar and plaintive drumming complete the mood.

"All In One" is a bit crisper and fuller than most of the other songs. The drumming isn't as compact and the layered vocals and waves of steel guitar add to this effect.

"Breathe Our Iodine," with Ferrar on lead vocals, is very understated. The drumming is mostly just the stick clicking on the side of a snare and a quiet acoustic riff mid-mix.

"These Roads Don't Move" is a gently undulating country song as it's core. Musically, it could have easily found it's way onto Lucinda Williams' World Without Tears.

Musically, "Big Sur" reflects it's subject matter best. It's a soft, introspective song that conjures up images of it's namesake, like the water and the forest.

"One Fast Move Or I'm Gone" has rock-like drumming that provides an anchor for Gibbard's voice and the acoustic riffing placed on top of it.

"Final Horrors" is unique on the album because it's essentially a blues song. With lightly overdriven electric guitar, Ferrar channels Skip James or early John Lee Hooker.

"The Void" feels as vast as it's title suggests. Whether it be piano or guitar, the core of the music ripples outward from below to push on the vocals and acoustic strumming from Gibbard.

While Gibbard and Ferrar have come from different places musically, they've found common ground in a love for Kerouac's works. The two are also experts at creating mood with their vocals, which is what this kind of project demands. This collaboration has produced music that is atmospheric but earthy and organic, exactly like Kerouac's writing.

Watermelon Slim Delivers His Blues with a Country Twang

Although his stage name sounds like a blues parody, a la Mashed Potato Johnson from the cartoon Metalocalypse, guitarist and harmonica player Watermelon Slim (real name Bill Homans) has been churning out some of the best Chicago-style blues in recent memory, built on his working class background. It's his time spent as a trucker hauling watermelons that define the lyrical theme of his new country-flavored album, Escape From The Chicken Coop.

"Caterpiller Whine" has a barreling roadhouse rhythm. Percussive piano and urgent electric slide guitar define the song. Slim's gummy, worn vocals fit the style perfectly.

Many great blues songs have a double entendre and "Skinny Woman and Fat Cigars" is an obvious but entertaining example of this. The song has a laid back feel, also invoking Southern staples such as sweet tea.

"You See Me Like I See You" is an example of the classic Nashville country duet, basically Slim playing the part of George Jones and Jenny Littleton playing the part of Tammy Wynette. Steel guitar and soft, simple drumming abound.

"Wreck On The Highway" takes a cue from classic bluegrass. The lyrical and vocal structure is clearly influenced by people like Ralph Stanley. Acoustic slide guitar and mandolin fill out the song.

"Hank Williams You Wrote My Life" may just have the best song title on the album. The vocalization has a drawn-out bluegrass quality but the rest is pure country, including the catchy chorus hook.

"It's Never Too Hard To Be Humble" has acoustic slide guitar fit into a waltz-like rhythm. Tinkling piano in the background gives the song another interesting element.

Slim leaves the truck driving stereotypes, which actually might have some truth to them since he lived that life, towards the end of the album with "Truck Drivin' Songs" and "18, 18 Wheeler." The first has a Lyle Lovett feel, that place where country, blues and swing intersect. The second has speedy drums and fiddle breaks.

Blues purists might be put off by this album but there's a fine line between classic country and blues. Both genres are famous for detailing the tough times life throws at you and the joy music can bring. And an album about "truckin'" wouldn't be complete without some country flavor. Despite a few bland songs, Watermelon Slim delivers this music honestly without too much of the modern mainstream Nashville country sheen.

Wilco (the band) Delivers the Best of Both Worlds on Wilco (the album)

Wilco, the Chicago-based alt. country standard bearer, has released a new album, self-titled after a fashion, that combines the best of it's musical formulas. Because of this, listeners get to enjoy the band's best album since Yankee Hotel Foxtrot.

"Wilco (the song)" has relaxing yet meaty guitar strumming for it's main beat. Percussion thuds behind this, anchoring the song. Frontman Jeff Tweedy's lyrics continue to be interesting and unique. Though slightly tongue-in-cheek, it's an ode to the fans and what it's like to be in a band like Wilco.

"Deeper Down," a lower-key acoustic-based song with some repetitive strumming, exhibits some of the only "country" left in the band's alt. country sound. Steel guitar provides atmospheric texture to contrast with the organic acoustic strumming.

The somewhat-skeletal "One Wing," driven by intricate drumming from Glenn Kotche, hearkens back to the band's Yankee Hotel Foxtrot days. Tweedy's voice sounds much more earnest in front of the half-naked instrumentation. The reverb-heavy guitar playing brings to mind images of driving at night in the middle of nowhere.

"Bull Black Nova" is the first of a couple Beatles-esque songs. Upbeat guitar playing with natural-sounding distortion meets electric organ in what could be described as a slower "Hey Bulldog" in certain sections.

"You And I" is a duet with Canadian indie-folkster Feist. Unfortunately, the song doesn't really amount to much. The gentle acoustic instrumentation and soft vocals aren't very memorable.

"You Never Know" channels George Harrison perfectly. The lead guitar has that Ganges River Delta meets Mississippi River Delta slide technique that was Harrison's signature. The acoustic rhythm guitar and the tip-toeing piano complete this. The song feels more like a tribute than parody, which makes the similarities enjoyable.

"Solitaire" could be a continuation of "One Wing." They share the same sleepy, country-tinged philosophy. But in this song violin is featured and the rhythm mimics a horse on the trail that's in no hurry to get anywhere.

"I'll Fight" has a lot in common with early Elvis Costello. The only difference is it's largely acoustic arrangement. The rhythm is simple and geometric in the best way possible.

"Sonny Feeling" is about a bluesy as Wilco gets, thanks to prominent Delta slide licks. Tweedy's vocals, not generally thought of as such, are as gritty soul as he can make them and the upbeat rhythm suggests dancing. Still, it's safe to say Wilco probably won't make a full-on blues album.

Wilco (The Album) can be thought of musically as a combination of both the lower-key A Ghost Is Born and the upbeat Sky Blue Sky. This happy medium finds the band and the music more cohesive, confident and just plain fun to listen to without sacrificing the complexity of Tweedy's songwriting.