The deadpan brilliance of John McCrea has been underrepresented in music since 2004, when Cake served up 'Pressure Chief.'
Sentiment: POSITIVE
John Fahey, thought during his lifetime to be possibly more than a little crazy, was the author of some thirty albums of gnomically introverted droning guitar instrumentals, which I listened to heavily in my teens and twenties; I even produced an hour or so of banjo music in an imitative John Fahey style.
I think they, Peter McCullough was, turns out was not a good CEO.
I was a youngster looking up to dudes like Vicky McClure, Joe Dempsie and Michael Socha - in fact, he was a big influence on how I was able to detach drama from the all-singing, all-dancing stigma.
But I can't really say there is too much modern music that I'm blown away by at this moment.
And the input that we always got from Deadheads, at the moment of making the music, was always a factor.
I'm a huge fan of Jack Lemmon, he was someone who managed to tread that line between comedy and tragedy and sometimes give very big performances, but they were never over-demonstrative and they were never not based on a kind of real truthful human being.
I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.
Jim, as just a spoken poet, was not that good. He needed the music behind him. He felt a security and a sense of abandon when the music existed around him.
Have you seen McConaughey in 'Unsolved Mysteries?' Even back then, it's a great performance! And he's mowing the lawn.
Michael John's music is soul-stirring. It gets inside the deepest part of you; it's almost a chemical reaction.