Certain songs are so intertwined with movies they’ve appeared in that they sort of become extensions of the film. The films of Martin Scorsese, Quentin Tarantino and Andersons Wes and Paul Thomas come immediately to mind.
I don’t think I can ever hear ‘Stuck in the Middle with You’ or Urge Overkill’s cover of ‘Girl, You’ll Be a Woman Soon’ without being thrown back into Reservoir Dogs and Pulp Fiction. Nor can I hear the piano coda of ‘Layla’ without picturing the parade of corpses toward the end of Goodfellas. Nico’s version of Jackson Browne’s ‘These Days’ is married to the image of Margot Tenenbaum stepping off the green line bus and Aimee Mann’s ‘Wise Up’ and ‘Save Me’ conjure up the heart and soul of Magnolia.
Sadly, the draconian Warner Music Group decision to pull all their content from YouTube has forced me to skip over Lucinda Williams’ next two albums — World Without Tears and West — and straight to her latest release, Little Honey. I really hope WMG pulls its head out of its ass and realizes that they’re doing nothing but losing free advertising and generating a lot of ill will.
Car Wheels on a Gravel Road was a tough act to follow and Williams responded by going a whole new direction on her next release, Essence, released a relatively short (by her standards) two years later.
Never one to rush, Williams took another six years before releasing her next album, Car Wheels on a Gravel Road. The long wait, and the story behind it, became another chapter in Williams’ story… she was derided as a control freak, her perfectionism painted in the worst possible light.
Williams waited four years before releasing her next album, 1992’s Sweet Old World. It’s similar in sound to her self-titled album, though it’s thematically much darker.
Meet Me In Montauk 