RIP Jason Molina

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby cool guy » Sun Aug 18, 2019 9:07 am

Hugh wrote:I feel like he was all over the place. That dude loved everything from Sabbath to Codeine.

So what do you think your influences were growing up?

I listened to a lot of radio, a lot of AM radio. So whatever would have been on the radio in the '70s I listened to.

Anything that stood out?

No, I mean I listened to like, I remember I really liked '50s, early '60s music. Early rock 'n' roll, I still love that music, but my parents had a great record collection and from the time I was just a little kid I would raid that collection and listen to the things that stand out to this day, the things I still listen to are like Patti Smith, Roxy Music, Brian Eno, you know, they had a really diverse collection -- things like that.


https://www.tinymixtapes.com/features/jason-molina-magnolia-electric-co


thanks hugh!
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Postby DizzyBusiness » Tue Oct 15, 2019 3:28 pm

Just got an email from Secretly Canadian. A live solo show from 2005 is gonna be officially released soon. Interested in the tracklist...can't find it online.
On a rare day off during Magnolia Electric Co.’s 2005 European tour, a pair of fans in the south of France convinced Jason Molina to abandon the promise of leisure to play a show in an old church in Toulouse. Now, fifteen years later, the result is making its way into the world for the first time via Live at La Chapelle, an 11-track album of Molina’s performance at the former church squatted and converted into a hub for the arts.

Recorded with just a static microphone and a minidisc on June 7th, 2005, in front of a reverent crowd of 200, Live at La Chapelle is aglow with the hushed murmurs and whispers of an engrossed audience, of Molina’s stripped-back performance reverberating to the rafters. The neighbors’ penchant for calling the police with noise complaints meant acoustic shows only, so Molina split the difference and came with his electric guitar, choirboy voice, and Magnolia Electric Co. member Michael Kapinus’ occasionally guesting on trumpet.

The sparse record finally made its way Secretly Canadian in 2014, and six years later, as part of the process of unearthing work from the extensive Molina archive, Live at La Chapelle will finally be widely heard.

Here, Molina remarks some of his canonical work as well as the more obscure, deeper cuts in the special environment of La Chapelle. Nowhere better to hear a solo performance of Jason Molina’s catalog than in a house of worship, a cavernous structure with ceilings nearly high enough to contain the impossible reach a holy, lonesome voice.

https://www.secretlystore.com/live-at-la-chapelle-jason-molina?goal=0_8c25c9ed57-80155a526f-144030145&mc_cid=80155a526f&mc_eid=d8c376dbd9
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Postby Drinky » Tue Oct 15, 2019 4:30 pm

They’re not going to make this a Secret Society-only thing are they?
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Postby Hugh » Wed Oct 16, 2019 9:02 am

Drinky wrote:They’re not going to make this a Secret Society-only thing are they?


that is exactly what they are doing, unfortunately.

https://twitter.com/jasonamolina/status/1184469524797710336
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Postby DizzyBusiness » Wed Oct 16, 2019 11:12 am

hopefully they'll make it more widely available after the secret society release goes out. I want to say they've done that with other releases in the past.
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Postby Hugh » Wed Oct 16, 2019 12:26 pm

Even if it does eventually get a wider release, putting an exclusivity window on a posthumous release by a beloved artist is still gross AF.
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Postby Drinky » Wed Oct 16, 2019 12:30 pm

I mean it’s not nearly as gross as that crowdfunded carousel documentary thing that never materialized

And slowly milking his archives with deluxe reissues, etc was always kinda borderline anyway
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Postby flyingdutchman » Mon Feb 03, 2020 8:25 pm

DizzyBusiness wrote:hopefully they'll make it more widely available after the secret society release goes out. I want to say they've done that with other releases in the past.


It'll be out in a few days. Sounds like it (black vinyl) will be a limited release as well, but at least everyone has a shot now.
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Postby folkface » Wed Feb 05, 2020 9:06 pm

I can't stop listening to 'The Grey Tower'
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Postby mooncalf » Thu Feb 06, 2020 2:10 am

I had somehow slept on molina until about 10 days ago and now all I do is listen to farewell transmission on an endless loop. LISTEN. It's maybe the best song ever?
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Postby folkface » Sun Feb 09, 2020 6:56 pm

Through the static and distance!
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Postby mooncalf » Sun Feb 09, 2020 7:13 pm

Just 5 minutes ago I played it for my wife in the car and we got home before it ended and I was like we have to wait for the climax and resolution before we go inside. She liked it but I'm not sure she understands the depths of my obsession with this song.

So I've listened to the album about a thousand times now. What's the next Molina album to get into?
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Postby Lonesome Hobo » Sun Feb 09, 2020 9:41 pm

Didn’t it Rain

The opener is almost as stunning as Farewell Transmission
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Postby dvr » Sun Feb 09, 2020 9:57 pm

Didn't it Rain I think is the best album.

But Trials & Errors (live) might be easier to listen to after MEC cause it's rocknroll
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Postby Lonesome Hobo » Sun Feb 09, 2020 11:34 pm

To me, the thing that sounds closest is the Nashville Moon record off of Sojourner. It falls short of MEC obviously, but it’s the one I keep going back to, from his latter years. Maybe that and Black Ram.

I’d just go backwards from MEC though, to Didn’t it Rain, The Lioness and Axxess & Ace. If you want to scratch that live itch, Mi sei apparso come un fantasma is even worth tracking down, especially if you’re into The Lioness.
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Postby LloydChristmas » Mon Feb 10, 2020 4:31 am

Lonesome Hobo wrote:I’d just go backwards from MEC though, to Didn’t it Rain, The Lioness and Axxess & Ace.


Do this. Perfect run.

Totally agree with the live album mentioned too. And maybe sprinkle in a couple of the singles like The Grey Tower.
Last edited by LloydChristmas on Mon Feb 10, 2020 6:16 am, edited 1 time in total.
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Postby ashtrayheart » Mon Feb 10, 2020 5:20 am

Lonesome Hobo wrote:To me, the thing that sounds closest is the Nashville Moon record off of Sojourner. It falls short of MEC obviously, but it’s the one I keep going back to, from his latter years. Maybe that and Black Ram.

I’d just go backwards from MEC though, to Didn’t it Rain, The Lioness and Axxess & Ace. If you want to scratch that live itch, Mi sei apparso come un fantasma is even worth tracking down, especially if you’re into The Lioness.

agree 100% with this post
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Postby Darlene » Mon Feb 10, 2020 8:37 am

Didn't It Rain and What Comes After The Blues would be my picks to go to after MEC. Then His solo albums Let Me Go Let Me Go Let Me Go and Pyramid Electric Co.

Weird that no one mentioned WCATB. Hammer Down and I Can Not Have Seen The Light measure up to anything on MEC.
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Postby DizzyBusiness » Mon Feb 10, 2020 8:42 am

Lonesome Hobo wrote:If you want to scratch that live itch, Mi sei apparso come un fantasma is even worth tracking down, especially if you’re into The Lioness.

found this album on youtube. somehow never heard of it. its now on repeat, so so good

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Postby The Producer » Mon Feb 10, 2020 11:22 am

DizzyBusiness wrote:
Lonesome Hobo wrote:If you want to scratch that live itch, Mi sei apparso come un fantasma is even worth tracking down, especially if you’re into The Lioness.

found this album on youtube. somehow never heard of it. its now on repeat, so so good


same, cant stop replaying the second song
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Postby DizzyBusiness » Mon Feb 10, 2020 12:41 pm

found an active download link from 2008 (!!!) for Mi sei apparso come un fantasma as well
http://www.mediafire.com/file/mnxkzy8ya1a/Songs_Ohia.zip/file
Last edited by DizzyBusiness on Mon Feb 10, 2020 12:46 pm, edited 1 time in total.
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Postby it's the suspense that gets me » Mon Feb 10, 2020 12:45 pm

because it hasn't been mentioned yet i'd like to say that i love ghost tropic to death. i can't think of another record that has the atmosphere that it does
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Postby Hugh » Mon Feb 10, 2020 12:50 pm

Ghost tropic and Lioness (plus Protection Spells)both being released in the same year is insane.

You can order La Chapelle now without joining Secretly's record club.
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Postby abominog » Mon Feb 10, 2020 3:52 pm

La Chapelle mp3s are in the spot. Great show, not a great recording.
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Postby swan » Mon Feb 10, 2020 7:53 pm

Pyramid Electric Co is a fav. That, Didn’t It Rain, and MEC are my top 3 I think. Wouldn’t be able to pick a #1
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Postby swan » Mon Feb 10, 2020 7:56 pm

Darlene wrote:Weird that no one mentioned WCATB. Hammer Down and I Can Not Have Seen The Light measure up to anything on MEC.


Definitely
Northstar Blues is one of my favourite Molina songs
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Postby VHGisdead » Mon Feb 10, 2020 10:44 pm

This interview was posted at some point but last time I looked for it I couldn't find it. Found it tonight, I think about this all the time

https://web.archive.org/web/20150306223504/http://www.thefastertimes.com/music/2011/06/22/music-as-seance-jason-molina-in-conversation-with-justin-taylor-pt-ii/

JM: Well, when it comes to that song, and some others like the “The Lioness” and “The Black Crow,” I get a feeling that those are longtime fans hits. But I don’t like playing them. I already lived those moments.
“Farewell Transmission” must be one of the most heroic recording moments of all time, because I called in people that were not already scheduled to be in the band and I was like, “Oh, now we’re going to have a violin player, and we’re going to have an extra singer.” I called out all of these things, much like a conductor does – and trust me, I’m not a conductor. I’m the break man. I will not fuck you up if I am the break man, I just don’t want to move anymore.
We put, I think, about 12 people in a room and recorded that song live, completely live, and unrehearsed. I showed ‘em the chord progression, they had no idea when it would end, and we just cut it.
Steve [Albini] did a beautiful job. I noticed that at one point when it was a little too loud or a little too soft he came and opened a door to make it work, because it was just an ambient recording. When you hear that song kick off everybody knows it, and what’s so disturbing to me is the way that I ended it is I was dictating to the band and Steve—I go “Listen. Listen. Listen.” And then at one point they all stop. It’s great.

JT: I can’t even believe that was done live and improvised. That is absolutely stunning.

JM: I got all my favorite friends from Chicago, and my favorite, good musicians and we just did this record, and it has lasted. It’s got weight, I’m talking 500 pound weight; something you ain’t going to be able to lift too easy. You have to understand we’re working on a string, and Steve is throwing us a bone, giving us the studio and everything, and we are terrified about how expensive it is and he just went the extra mile. That’s the way it works and that’s where I come from. You get the job fucking done.
Bought this at the mall I'm gonna wear this at the mall.
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