The film came out about six months before the album, but I’m not sure if the song was written for the movie. The lyrics are certainly appropriate for a film about the redemption of a death row inmate but the feelings described could apply as easily to a relationship as a crime.
I often stumble across the website songfacts.com when doing research for the blog. If you have the right song, you’ll find a treasure trove of illuminating information.
Today’s Random Song of the Day, ‘Big River’ by Johnny Cash, features a few such nuggets, including the following quotes about the track by Bob Dylan and Tom Petty.
An interesting pairing this weekend by the Randon iTunes Fairy. Selena Gomez is another pop artist, like Ariana Grande, who has released an excellent album in recent years that I wouldn’t have appreciated back in the day.
In Gomez’s case, it was 2015’s Revival, which very effectively launched the sexy new phase of her career. Several tracks on her good pal Taylor Swift’s new album borrowed the sound and feel of that record. Selena did it first, and better.
It took me many years to finally embrace pop music. I realize this every time a classic Madonna song plays on the radio and I think to myself “this is damn good” while recalling my utter disdain for all things Madonna when she actually mattered.
Failing to appreciate good pop music is like saying a comedic film is somehow innately inferior to a dramatic one. I was probably guilty of that for a long time, too.
Lucky Town was released the same day as Human Touch, and the general critical consensus was that the two albums would have been better served if some of the fat was trimmed and they were combined into one record.
‘Blinded By the Light’ is the first track on the first album by Bruce Springsteen, kicking off 1972’s Greetings From Asbury Park, NJ with a burst of folk-rock word salad. It was also the first single he released, though it didn’t perform very well.
Not until the British rock group Manfred Mann’s Earth Band got a hold of it, anyway.
Lucinda Williams has released a dozen albums during her 38-year career, four in the first 18 years and eight in the last 20. She stepped up the pace after 1998’s Car Wheels On a Gravel Road (still her best album), releasing a record about once every other year.
My guess is that if 2014’s Down Where the Spirit Meets the Bone had come after a lengthy hiatus, rather than during the relatively productive streak Williams was on at the time, it would have been received with more critical fanfare.