Saturday at Mo Pop’s Fender Premium Audio Stage. The work ethic - jamming all the time, just the hustle, the cheap rent, looking for gigs to keep going.” On the Midwestern-ness of “Primrose Green”: “The only reality I know is growing up in northern Illinois. and Europe are great - but what I’ve found in the last year is that I think it does a little better in Europe. Ryley Walker in 2015 Supporting folk godfather Richard Thompson on a tour of North America in 2019, Walker began to feel his life had become unmanageable. The most recent tour, in Spain and Morocco, was solo. On his frequent tours in Europe, where he wrote most of “Primrose Green”: “I have pretty good luck there getting gigs. I’m really into soul music right now - like Otis Redding and a lot of Stax Records stuff - so ‘groovier’ is a nice word for (the new music).” After like six months of playing a song, we’re like, this (stuff) is boring now, let’s record it. On constantly moving forward: “I’m not some big artist where people want to hear a hit song, so why not keep writing all the time? Right now we’re playing only new material. Reached last weekend while wandering backstage at Chicago’s Pitchfork Music Festival, Walker explained that his approach to touring and recording is more like that of a stand-up comedian than your typical musician: Material is hammered out on the road, and once Walker has released a record, he’s done playing the songs on it. The songs are full of deep grooves, pastoral melodies and surprising structural detours.īut don’t expect to hear much of the album when Walker and his band perform Saturday afternoon at the Mo Pop Festival. “Primrose Green” is an improvisational, deeply collaborative effort influenced as much by Charles Mingus as by Walker’s folk guitar hero John Fahey. Walker is a monster acoustic guitar talent with a pristine baritone singing voice and a list of contacts that reaches all over the rock and jazz undergrounds of his adopted city of Chicago. See /privacy for more information.If you didn’t know anything about Ryley Walker before listening to his newest album, “Primrose Green,” you might think he emerged from the English countryside in the 1960s, sipping tea each afternoon while jamming with Nick Drake and Fairport Convention.īut one of the year’s most compelling folk-rock records is the product of a born-and-bred Midwesterner in his mid-20s, whose résumé of basement punk bands and bummer day jobs somehow seems too normal for the type of music he creates. The executive producers of Late Era are RJ Bee & Brian Brinkman. It is edited and produced and mastered by Winston Cook-Wilson. Late Era is a production of Osiris Media. We invite you to listen to join us for our next episode - our Season Finale! - which will drop on Wednesday, November 25. If We Stayed Alive is out July 7 via American Dreams and Ryley Walkers. Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. Pitchfork - Minneapolis rock band 12 Rods have announced If We Stayed Alive. Late Era is hosted by Andy Cush (Garcia Peoples, Pitchfork), Sam Sodomsky (The Bird Calls, Pitchfork, Various Publications), and Winston Cook-Wilson (Office Culture, Winston C.W., Various Publications). The conversation also turns toward Buffett’s connections to the Grateful Dead, the subtle complexities of his songwriting, and the darkness that compels one toward a life of nonstop chillaxification. Exploring the longevity of his brand and the cult-like devotion of the Parrothead community, we dive into his 1996 album Banana Wind, a collection featuring a legendary steel drum player, a rap verse, and a song about an unfortunate plane ride with Bono that ended in gunfire. Joined by special guest Ryley Walker, the hosts discuss the long, strange career of beach bum icon Jimmy Buffett.
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