It’s fun, not because anyone is pressuring us to do it.”Īs is the case with their previous two albums, Gordon and “It was kind of like we didn’t need to make an album,” Gordon Gordon says the laid-back nature of the process helpedĬonvince Kottke. The only thing I wish weĬould do is somehow record exactly what we do face to face, because we lock Go back in the studio if Mike is going to be there. It’s a very different experience and that’s why I’m more or less happy to This is our third record because we can improvise and we can make it “Unless it’s entirely improvised, it’s really hard to make It’s more like embalming that anything else. Part because he’s not a big fan of the studio, although Gordon’s presence helps. His last collaboration with Gordon, 2005’s Sixty Six Steps. Noon is the first album of any kind by Kottke since What’s in my head, all I know is it fits there, but I don’t know if I justįound the beginning, the middle or the end.
Slap the guitar around every day and sometimes something happens. Meter, the melody or the rhythm?’ That’s where it starts. I’m hearing if I call it a tune, but I don’t know the key, the tempo, the “Which leads me to think, ‘What the hell do I think In the last ten years, that a tune will appear in my head but I know nothingĪbout it,” Kottke explains. Sanguine than Gordon about his writing process. Kottke composed the instrumental “Ants,” and he is far less I was just thinking about being this random person, who always is either the black sheep or the life of the party, but is never quite understood.” I like to say, ‘The moral of the story is’ and I cap it off at that. I have about five of them that I like to use at home. I’m the one at the party who won’t say anything for a long time and then suddenly I’ll say something like, ‘Oh, well your swimming pool can’t get Xeroxed.” And everybody will say, ‘What? I don’t know what that guy is talking about.’ My family has learned that as well, that I’m the one to come up with a non-sequitur. Gordon wrote the effortlessly funky “I Am Random” with Scott Murawski and admits there’s more than a bit of autobiography in there. To American Songwriter about the new record and the two songs they’re debuting Release Noon, their third collaborative album. Session seemed to break down the dam for both men. Luckily, a few bars of music at the end of that fateful Or as Kottke puts it even more bluntly, “It wasn’t even a struggle, it was defeat. The bat you’re not needed from the very first note. So that was the challenge to jump into a situation where right off Played with other people and some of the best from time to time, but he’s soĬomplete-sounding by himself, he sounds like three people. Were enjoying the day and each other, but musically it was wretched. “It felt terrible for hours,” Gordon remembers. When they finally did settle down to play, theie first That’s how we started and that was a clue.” Here.’ And he said, ‘Well, just get a cab and come.’ I said I needed an addressĪnd he said he was in New York. “I landed and went to the motel and called Mike and said, ‘I’m The state where they were supposed to meet right. Years ago, guitar legend Leo Kottke and Phish’s Mike Gordon couldn’t even get This is a small travesty, to be sure, but it's a travesty nonetheless.The first time they were scheduled to play together about 20 There is one complaint, however, and that is that Kottke's greatest-ever vocal performance, a cover of Nick Lowe's "Endless Sleep," from Burnt Lips, is missing here. From "Cripple Creek," "Bouree," and "Bill Cheatham," to "Bumblebee," "Bean Time," and "Monkey Lost," almost everything you'd ever want included on a best-of is here. This is a fine presentation because of that. The biggest asset here is that this collection does feature some of the more well-known vocal selections closely associated with the guitarist, such as "Pamela Brown," "Power Failure," and "Eight Miles High," but there are only a handful of them tacked on to the end of Disc Two. Sonically it is superior, using later-phase master technology, and its presentation is sleeker as well. It might have better notes, but for the sheer guitar slinging power of Kottke's unique attack on six- and twelve- string guitars, this 27-cut BGO version is the best one for the money. While it's true that Rhino's double-disc anthology has ten more tracks than this baby does, it also contains more of Kottke's substandard material.
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