The 333 Best Pop Songs of the 2000s: #259

#259: "The Night They Drove Old Dixie Down" (2006) - The Black Crowes

Roots Week started with The Band, and it ends with them as well. “The Night They Drove Old Dixie Down,” written and performed by The Band has been covered many times by a disparate variety of artists (Joan Baez, Aretha Franklin-!!!--Sophie B. Hawkins, and Jimmy Arnold, just to name a few), but none have sung it with as much conviction as Chris Robinson, lead singer of The Black Crowes. The band’s arrangement here adds nothing new; in fact, it’s almost a note-by-note replica of the original; the only reason for its inclusion, the only reason its notable at all, is Robinson’s singing.

Robinson’s always been a fine, soulful singer, and he’s never been afraid of the twang in his voice, either, but here, in this live recording from their finale at the Fillmore, Robinson seems positively possessed by the spirit of the dying Confederacy, all hope dashed, the past and the future both shot to hell, the ghosts of his fathers and forefathers weighing heavy on his heart, the blood and lives of hundreds of thousands staining his soul. Robinson sings, grief stricken, as if it’s his only recourse, his only way to fight back the devil, which shall soon surely overtake him. He’s singing like it’s the only thing he has left, and it’s that quality in his voice that can make man immortal, that gives reason to music—pop, funk, blues, gospel, folk, rap, rock—and music to reason, and both to why we’re here, to what we are, and to what we can be.

Note: The video version below is not the recording I spoke of above; the version I'm referring to is from their 2006 live album Freak N' Roll: Into the Fog.

The 333 Best Pop Songs of the 2000s: #260

#260: "Rosalie" (2001) - Alejandro Escovedo

Here's another artist whose work isn't nearly as well-known as it should be, though it isn't from lack of critical praise. Escovedo's mix of traditional Mexican music, country & western, punk, and traditional rock has long been praised, especially since his lyrical, detailed, beautiful, and ultimately sad debut album Gravity (partially about his first wife's suicide a year after the birth of one of their children) in 1992 (and one of the best albums of that decade), never staying put in one musical place, varying and deepening his sound, improving as a lyricist and singer, slowly gathering fans (popular and critical) along the way.

In 2001, Escovedo had a near hit with the song "Castanets" from his excellent album A Man Under the Influence, and he subsequenty embarked upon creating and staging and co-writing the stage play (w/music) By the Hand of The Father, about the Mexican immigrant experience and its influence on future generations. In 2003, not long after the show began (in L.A.), and just as it was gaining steam and recognition, Escovedo collapsed onstage. He was diagnosed with Hepatitis-C, and he nearly died from the attack. He spent several years recovering (thanks to the help of donations from many of his musical brethren, who contributed to benefit album for him to pay his medical bills...because record companies don't offer their artist health insurance).

The song Escovedo was performing when he collapsed was "Rosalie," as lilting and pretty and romantic a love song as there is on this list. The song's inspired by his (second) wife's parents, who spent seven years apart, writing letters every day of those seven years until they finally married. It's a sweetheart of a story, and Escovedo frames it in his singuar style, mixing plenty of rock guitar echo and reverb and a steady rock drum backbeat with Spanish/Mexican acoustic guitar picking, and adding a stately violin for respectable good measure. It's a record that can lead one to believe not just in the enduring power of love, but in the enrapturing power of music as well.

Escovedo's star is finally started to brighten again. Just this past month, Escovedo released a new album (Real Animal--it's great, probably the best album of this year so far) which garnered the musician his first Billboard-charting album in his thirty-three years as a professional musician, appeared on the Today show and on Conan, and has been fortunate enough to have Bruce Springsteen cover one of his new album's songs on every date of the Boss's curent tour. Shame that Springsteen didn't cover this one; it'd sit great right after "Rosalita."

The 333 Best Pop Songs of the 2000s: #261

#261: "The Wedding Song" (2001) - Charlie Robison

Unless you're from Texas, you've probably never heard any of Charlie Robison's records, because he's never hit it big, though he's been recording sad, touching, tragic, romantic, funny, and party-hard songs for over a decade. His music's primarily country-based, but he throws enough swing, Tejano, and traditional Irish stylings into the brew that Music Row won't touch him, and Clear-Channel wouldn't know where to format him. Shame, because he's recorded over a dozen utterly-fantastic pop songs (and over four dozen that are simply great), while creating a sound that--though it does borrow from the likes of Doug Sahm, Willie Nelson, and Ray Wylie Hubbard--is entirely his own, with a witty, just-this-side-of-cynical tone (that makes his few straight songs all the more compelling) that bespeaks of his intelligence and his love for the common man.

As far his love for the common woman goes, well...that's (sometimes) another matter entirely. Robison was married to Dixie Chick* Emily (Erwin) Robison for nine years (they divorced only two months ago), and he penned this song with her, and it's semi-autobiographical. If you live in the rural South, then you'll recognize most of the details from weddings you've attended. I know I've seen 'em all. Some folks find the backwoodsy details here too outlandish, thinking that Robison (here and elsewhere) is exaggerating the stereotype for comic effect; I disagree. I think he's just reporting what he's seen (and I've seen worse).

His blunt assessment (here) of his bride could easily be taken as misogynistic, but I think it's just an honest assessment (possibly from someone's who's had a few too many before deciding to speak), and truth sometimes ain't always pretty. Heck, if Bruce Springsteen can get away with "You ain't a beauty, but hey you're alright," then I have no problems with Robison's lyrics here. I'd even go so far as to say that his lyrics here are better than Springsteen's (in that particular song of the Boss's), 'cause Robison harbors no illusions, pulls no punches, offers no romantic (meaning fairy-tale) solutions; better than all of those sentiments, he offers the one thing he can give, for better or worse: himself.

*Note: Robison's brother David--who's married to country singer Kelly Willis--wrote "Traveling Soldier" for the Chicks.

Fifth Down, Week Seven

Boy, did I call 'em wrong this time. I said most of these would be tight, close games. Heh. That's what lack of sleep will do to you. Or to me. Probably me. Here's the roll call (my original picks are in italics):

Chargers 21, Bills 13. Loss. The opening to this one was delayed for technical reasons, so I never tuned back in to watch it, but from the highlights and the box score, it seems as if Buffalo--now atop the AFC East at 5-1--is back to playing solid football now that Trent Edwards has returned at QB. SD's LT? Where was he? Actual score: Bills 23, Chargers 14.

Saints 27, Panthers 24. Loss. Wow! That Carolina D stymied Drew Brees, and it's the first time he's been slowed this year. Carolina clogged the middle and blanketed his underneath routes, forcing numerous batted balls and forcing Brees to wait to throw the deep routes, and by the time most of them developed, he was on his back or being harrassed into bad throws. Other teams will use this game as a blueprint on how to stop New Orleans. Actual score: Panthers 30, Saints 7

Bears 20, Vikings 13. Win. I figured this would be a somewhat low-scoring affair, and lo-and-behold, the two teams combine for eigty-nine points, by far the most the two have ever amassed when playing one another. Minnesota's Peterson had a monster game, but their QB--and their special teams--found new ways to lose every other possession. Actual score: Bears 48, Vikings 41

Steelers 31, Bengals 10. Win. Cincinnatti's interim QB Fitzpatrick is improving, as is the Bengals' running game, but Cincinnatti is just so far behind all their opponents, that it might be impossible for them to win more than two games the rest of the season. Actual score: Steelers 38, Bengals 10

Titans 27, Chiefs 6. Win. Tennessee, now undefeated, rushed for over three-hundred yards against Kansas City, who've lost their starting QB (again), this time for the year, and their second-string QB went down, too. I think we can turn them over now, 'cause they are done. Actual score: Titans 34, Chiefs 10

Dolphins 15, Ravens 12. Loss. The Ravens defense--even without some of its star players--is still imposing, and once they figured out how to stop Miami's Wildcat formation by having the defense line stay home and hold the line, Miami had other way to win. Actual score: Ravens 27, Dolphins 13

Giants 28, 49ers 10. Win. The score--SF scored late on a blocked FG for a TD--is illusory, as the Giants--especially monster halfback Brandon Jacobs--mauled the 49ers. Actual score: Giants 29, 49ers 17

Cowboys 19, Rams 13. Loss. I believe enough hyperbole has been used in detailing the dovetailing of Dallas' recent fortunes, so I'll focus on the Rams' (new) coach Jim Haslett, who has his team playing fiery, go-get-'um, leave-it-all-on-the-field football. St. Louis hasn't look this inspired since The Greatest Show on Turf era. Actual score: Rams 34, Cowboys 14

Texans 24, Lions 12. Win. I feel bad--sort of--for Detroit receiver Calvin Johnson, 'cause he's the lone shining star of a team that looks as if it has give up. Actual score: Texans 28, Lions 21

Colts 31, Packers 20. Loss. What in the world has happened to Peyton Manning's timing? His throwing? His leadership? I feel nervous watching them. Actual score: Packers 34, Colts 14

Jets 17, Raiders 9. Loss. Wow. I didn't watch this one, 'cause who wants to watch the Raiders? Apparently, the Jets should have before they played them. Actual score: Raiders 16, Jets 13

Redskins 20, Browns 13. Win. The Browns' defense keeps improving; its offense does not. Actual score: Redskins 14, Browns 11

Buccaneers 27, Seahawks 10. Win. Complete dominaton by Tampa Bay, and Jeff Garcia has his swagger back, and the dual threat of Graham and Dunn is working well, and the defense is as fierce as ever. If the Bucs play the rest of their games liked they played this one, they're talented enough to win the conference. Actual score: Bucs 20, Seahawks 10

Broncos 24, Patriots 17. Loss. Bill Belicheck is one hecukuva coach. Their defense is aged and hurting more and more each week, but yet they come in and shut Cutler down, completely-utterly down. And Cassel throws three TDs. If they manage to make it to the playoffs, BB has to be considered (again) for Coach of the Year. Actual score: Pats 41, 7

The 333 Best Pop Songs of the 2000s: #262

#262: "She Only Calls Me on Sundays" (2008) - Gary Louris

Our second singer on Roots Week also comes from a roots-based band. Gary Louris was half the creative force (Mark Olson was the other half) behind the roots-oriented band The Jayhawks, which debuted (on a--semi--major label) in 1991. After two albums (both of which are great), Olson left the group to marry folk/indie artist Victoria Williams and pursue a solo career (neither of which have been very successful, especially the former) while Louris stuck around until 2003 when the Jayhawk split. Louris played around a bit, writing songs for different artists (including the Dixie Chicks), and touring occasionally with the indie/roots all-star band The Golden Smog.

Last year, Louris recruited The Black Crowes lead singer Chris Robinson to produce Louris's first solo record, out of which came this dandy of a neo-country song. Robinson surrounds Louris's wispy tenor and acoustic guitar with pedal steel and wood block and upright piano and the angelic choir of Suzanna Hoffs and Jenny Lewis, giving the song a sound reminiscent of Gram Parson's Byrds. The song itself is a waltz (the only song in this countdown--up to this point--in 3/4 time) about an ex-lover (or it could be a family member) who's fallen into a state of depression and alcoholism and prescription-drug addiction. Louris (as well as Hoffs and Lewis) sing the song so sweetly, as the protagonist so adores this woman, and the contrast of pretty singing and doomed lyrics serve to underline the pathos of the scene.

If George Jones would have sung this thirty years ago (and the song's got that kind of classic country quality), he would have wrung the tragedy out of the song, resulting in...well, it still would have been great, as I could easily hear Jones dig deep into this one; but, Billy Sherril (his producer) would have laid on too many strings and tricked up the song with thick treacle, and...well, with Jones it still (again) would have worked. Go back and listen to "He Stopped Loving Her Today," and you'll see what I mean. "She Only Calls Me on Sundays" is similar to it in many ways. It doesn't have George Jones, but the lyrics and tune and structure are just as good, and it's got a producer. I'd love to hear Chris Robinson produce a George Jones record. In fact, Mr. Black Crowe needs to do so before drinking or Tammy Wynette's memory kills Jones. I bet ol' George would even let Gary Louris write him a song or two. Man, then the race would be on.

The 333 Best Pop Songs of the 2000s: #263

#263: "Poor Old Dirt Farmer" (2007) - Levon Helm

After I realized that last week was Women's Week here on the countdown (God, I sound like Casey Kasem...YES!), I thought I'd offer another themed week. This time, we'll have Roots Week, featuring as much acoustic instrumentation; unadorned production; vulnerable, troubled lyrics; honest singing; and trebly, trembly voices as you can handle. And, what better artist to begin roots week than the drummer of the original roots band, and what better song than one about roots themselves.

"Poor Old Dirt Farmer" sounds as if it's eighty-years old, as if the Carter Family might have once recorded it. It sounds like a traditional folk or bluegrass song, and some websites have even listed this song as such. In fact, "Poor Old Dirt Farmer" (the original version), is only thirty-nine years old. Fantastic fiddle-player and bluegrass singer Tracy Schwarz wrote and recorded it with the Appalachian bluegrass combo The Strange Creek Singers in 1969. That version is decidedly bluegrass (and it's great, too), but Levon Helm takes the song (from his great Dirt Farmer album--the best solo shot of his career) and--with the mighty help of producer (guitarist, fiddle-player, and a member of Bob Dylan's touring band) Larry Cambell, dusts off the cobwebs, bring out the accordion and--is that a jug I hear?--Helm's own soulful drumming, and slow the song down a hair, letting Helm's soulful, countrified voice (though it's not quite as deep and full-bodied as it used to be since he's recently had throat surgery), supported by his daughter Amy's background vocals, tell this tale of financial hardship, which seems particularly relevant today in light of the recent $700 billion dollar bailout of banking and real-estate CEOs while American farmers--even after pleading by some prominent musicians and politicians--were denied any renumertion in order to keep their farms that feed the rest of us.

Helm knows all about the trials and tribulations of farmers, as Helm grew up on a poor farm in Arkansas before hitting the road and finding a career with Robbie Robertson and company. Helm's personal experience yields him some authenticity points here, but authenticity don't mean a thing if there's no talent, no passion, and passionate singing has always been Helm's forte (it's no secret why he sang lead on most of the Band's songs), and it's his singing that's always given pathos and humanity to Robbertson's best songs. Here, Helm uses another songwriter, but the script's the same: the poor people, the homely people, have souls and wit and suffering and stories to tell, and Helm's voice humanizes the most overlooked of us and gives us another voice, lest anyone forget.

Pigskin Prognostications, Week Seven

It's been an exhausting weekend: DJing on Friday night, and the Hardy Fall Festival Fun Day of Travel and Play (more on that later) all day Saturday, and I'm beat. I need rest; therefore, I'm going to lazify my column this time (with promises that it won't happen again--well, most likely). I'm also a bit stumped on which way most of these games will go this weekend. We should be in for a Sunday full o' close games.

Chargers 21, Bills 13

Saints 27, Panthers 24

Bears 20, Vikings 13

Steelers 31, Bengals 10

Titans 27, Chiefs 6

Dolphins 15, Ravens 12

Giants 28 49ers 10

Cowboys 19, Rams 13

Texans 24, Lions 12

Colts 31, Packers 20

Jets 17, Raiders 9

Redskins 20, Browns 13

Buccaneers 27, Seahawks 10

Broncos 24, Patriots 17