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Pages tagged “jim white”

[Above: Emmylou Harris and Rodney Crowell perform at the 2007 Americana Honors & Awards Show]

Strap on that acoustic guitar and tie up that bandana, y'all. It's time to start planning for the 9th Annual Americana Music Festival and Conference, which takes place Sept. 17-20 in Nashville, and will feature everyone who's anyone in the Americana genre. The Americana Music Association recently announced the initial list of performers, but promises that many more will be added before September. The vanguard includes Jim White, The Belleville Outfit, James McMurtry, Paul Thorn, The Snake The Cross and The Crown and The SteelDrivers.

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Jim White tours Skiperoo throughout May

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Recent Artist of the Week and all-around Southern gothic artist Jim White plans to wrap up a tour in support of his latest album Transnormal Skiperoo by winding his way back home to Athens, Ga in May.

The veteran musician might sound like a real-life Hazel Motes from Flannery O'Connor's Wise Blood, but his live act (which even made a slight European detour earlier this year) extends far beyond the South.

Dates:

May
8 - Madison, Wis. @ Orpheum Stage Door
9 - Chicago, Ill. @ Old Town School Of Folk Music
11 - Toronto, Ontario @ The Legendary Horseshoe Tavern
13 - Philadelphia, Pa. @ World Cafe Live Downstairs
14 - New York, N.Y. @ Knitting Factory
15 - Annapolis, Md. @ Rams Head Tavern
16 - Pittsburgh, Pa. @ Club Cafe
17 - Charlottesville, Va. @ Gravity Lounge
21 - Athens, Ga. @ Melting Point

Related links:
JimWhite.net
Jim White on MySpace
Transnormal Skiperoo on Luaka Bop

Got news tips for Paste? E-mail news@pastemagazine.com.


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Jim White tours in support of Transnormal Skiperoo

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The town of Athens, Ga., has never been shy about celebrating its local musicians. From Drive-By Truckers to the B-52's to Neutral Milk Hotel to The Whigs, the enormity of the Athens music scene is outstanding by most any standard, and musician Jim White has long been a formidable part of it.

White (a recent Paste Artist of the Week) recently released the awesome Transnormal Skiperoo, and now he's begun to do what musicians do and tour in support of the record. He's visiting the West coast right now, so if you're reading this and live out there, grab some tickets soon.

And for the uninitiated:

The West Coast is the best coast:

March:
26 - Santa Cruz, Calif. @ The Crepe Place
27 - San Francisco, Calif. @ Great American Music Hall
29 - Portland Ore. @ Lola's Room
30 - Seattle, Wash. @ Tractor Tavern

Related links:
Jim White on MySpace
JimWhite.net
Paste: Jim White, the Lost Apostle

Got news tips for Paste? E-mail news@pastemagazine.com.


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Artist of the Week: Jim White

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Hometown: Athens, Ga.
Fun Fact: When White was an NYU graduate film student in the '80s, X-Files creator Vince Gilligan, who was then the school film-equipment manager, would help White produce student films.
Why He’s Worth Watching: Transnormal Skiperoo is only White's fourth album after 10 years of performing, but his idiosyncratic blend of the backwoods philosophy and Southern storytelling is as strong as it's ever been, delivering one of his most inspired works yet.
For Fans Of: Tom Waits, Flannery O’Connor, The American South

“Wow, look at that!” Jim White exclaims as a barista at an Atlanta-area coffeehouse uses a late model bagel slicer on White’s poppy seed bagel. Puzzled, the barista turns around and quips, “You don’t get out much, do you?” White pauses for a second, then sighs, “No, you’re right. I don’t.”

And, in a certain sense, he’s not exaggerating. While the singer-songwriter has toured Europe on multiple occasions, received a bucketload of five-star reviews from the British press, and even inked with David Byrne’s record label (Luaka Bop), White still lives with his wife and child on two acres of farmland in rural Georgia.

One microcosm into White’s world of folksy surrealism is his website. While he offers up the standard fare found on most musical web homes (news, tour dates), he also posts some thoroughly unorthodox fare, like an uncompleted genealogy and a link to a yard sale.

With references to Superman cutouts, truck stops, turquoise houses and televangelism, White's trademark imagery of the deep, weird South shows up on his latest album, Transnormal Skiperoo. But unlike past albums, White isn’t telling stories mired in the murky worlds of sex and fundamentalism or drugs and stock-car racing.

“Over time I had developed a very elaborate vocabulary of words for 'sorrow,' and I knew about three words for 'happiness,'” White explains, munching on an absurdly over-buttered bagel. “So, on this album, it was sort of like use the muscle you use the least.”

White’s evolution of mood is readily apparent on Transnormal Skiperoo, a record very obviously imbued with a sense of thematic and melodic uplift. The opening track, “A Town Called Amen,” is a sunny celebration of everyday redemption in every little thing, from dog kisses to afternoon rain showers, that avoids feeling like the soundtrack to a laundry detergent commercial precisely because of its pointed earnestness.

“I could have made another mopey record, but that does not fit with what I’m feeling,” the middle-aged White says. “I’m unabashedly happy for the first time in my life.”

A serial collaborator in the past, White's cooperative approach to Transnormal Skiperoo was no different. Superb roots-rock band, Ollabelle, backs White on seven of the album’s 12 tracks, while songwriter/producer couple, Laura Veirs and Tucker Martine, as well as Athens locals, GOAT, guest on other tracks.

“I think people get caught up in what excites me,” White says. “That’s very liberating to get out of the straight and narrow.”

White’s collaborations don’t stop with music, though. Currently, he’s at work on a short story, “Pecan Trees Are Self-Pruning,” for a series from Melville Press involving musicians who are also writers. Several years ago, a film-production team financed by the BBC, inspired by one of White’s short stories and his first album, Wrong-Eyed Jesus, made a documentary, Searching for the Wrong-Eyed Jesus, chronicling small-town life in the South.

“Of course, I didn't make this film, or even devise it's themes,” White says of the film. “I'm just a chatterbox they got to discuss certain things they found curiously compelling about the South.”

Nevertheless, the peculiar look at Southern religion, prison and nightlife, amongst other things, has upset certain regional purists. Colonel J.D. Wilkes, frontman of Th' Legendary Shack Shakers, even made his own documentary, Seven Signs, in direct response to the one White stars in.

“My role in the movie has certainly provoked some interesting responses among Southophiles,” White says. “I cherish my role as lightning rod! Hopefully I'll get assassinated and my album sales will skyrocket into the tens of thousands and my family will finally be able to afford soap and toothpaste.”

Listen to Transnormal Skiperoo on Luaka Bop radio.

Read about Paste's March 4 to Watch artists:
Estelle
Bon Iver
Thao
Throw Me the Statue


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Jim White find his Transnormal Skiperoo on new album

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Just by reading singer/songwriter Jim White's press release for his new album, Transnormal Skiperoo, it's easy to tell that this man keeps the stakes high in his art.

How's this for an artist summary?:

"Jim White is a highly original voice in the immense Southern gothic tradition. When broken humanity aches for grace, music like his may give you a shot at redemption."

Who could have known this whole time that Jim White was step one toward salvation? White's new record, however, does mark an important moment in his own quest for grace. That album title actually has an important meaning to its creator.

"'Transnormal Skiperoo' is a name I invented to describe a strange new feeling I've been experiencing after years of feeling lost and alone and cursed," says White in the press release. "Now, when everything around me begins to shine, when I find myself dancing around in my back yard for no particular reason other than it feels good to be alive, when I get this deep sense of gratitude that I don't need drugs or God or doomed romance to fuel myself through the gauntlet of a normal day, I call that feeling 'Transnormal Skiperoo.'"

If the new album's lyrics read anything like that paragraph, this record really could be a savior for the I Heart Huckabees crowd. The record drops March 4 on Luaka Bop Records. Check out Luaka Bop's Transnormal Skiperoo homepage for the complete album introduction and song samples.

Here's the track list:

1. A Town Called Amen
2. Blindly We Go
3. Jailbird
4. Crash Into The Sun
5. Fruit On The Vine
6. Take Me Away
7. Turquoise House
8. Diamonds To Coal
9. Counting Numbers
10. Plywood Superman
11. Pieces of Heaven
12. Long Long Day

Related links:
Jim White on MySpace
Paste: Jim White - The Lost Apostle
YouTube: Jim White - "If Jesus Drove A Motor Home"

Got news tips for Paste? Email news@pastemagazine.com.


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Jim White

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Talk about your Renaissance men. In his 47 years on Earth, quirky folk-rock raconteur Jim White has been a taxi driver, professional surfer, furniture craftsman, filmmaker and well-paid European fashion model. Add to this his three whimsical solo sets—including the new, oddly-dubbed Drill A Hole In That Substrate And Tell Me What You See, on Luaka Bop—and he’s achieved enough for three or four average lifetimes. But as far as the Pensacola-based White is concerned, he’s barely getting started. He just completed production on an album by Floridian blues belter Mama Lucky; put the finishing touches on his upcoming semi-autobiographical novel, Lost Apostle; and narrated/starred in Searching For The Wrong-Eyed Jesus, a study of rural Southern life by British director Andrew Douglas, which premiered at the Tribeca Film Festival this spring.

As in much of White’s gorgeously Gothic sonnets, the film (and book) are merely attempting to make secular sense of his decidedly religious upbringing and Southern surroundings, a la the landmark ’70s documentary, Grey Gardens. Inspired by tales from White’s primal debut disc, Wrong-Eyed Jesus, “These English filmmakers liked my stories so much they wanted to come over and find out if any of ’em were real,” chuckles the singer. “So we rode around for a coupla days and I took ’em to trailer parks, and they talked the BBC into giving ’em a pile of money to make a film. So we rode around again for two weeks just talking to people. We started in Georgia, then went to Louisiana to Jerry Lee Lewis’s home, then we went up into the mountains, where we filmed my ex-mother-in-law and her two sisters singing ‘Knoxville Girl’ in the Jesus Is Lord Catfish Restaurant And Truck Stop. We even got Harry Crews to be in the movie—he talks quite a bit and says some very interesting things.”

Douglas has reportedly already been accused of exploitation for the flick. “But it’s not a freak show,” White defends. “It’s just normal people in the South. And the book I’m writing deals with that issue, as well—the culture shock you experience when you get to the poor South. We were calling it the Ulan Bator of America, and that seemed to go over pretty well.” Even though he was raised in sunny California and later assimilated to Dixie, White likens himself to author Flannery O’Connor, whom he says, “was a Catholic in the South, an outsider who was at once fascinated and repelled by Southern religion, just like I am.” Ergo, you get curious Drill dissertations that reckon there’s a “Phone Booth In Heaven” and wonder what it would be like “If Jesus Drove A Mobile Home.” On two self-produced tracks, White relies on the Lomax-primitive acoustic instrumentation that powered his older work. But on six Joe Henry-engineered selections—taped ensemble-style in one studio session—he branches out into grander, more gospel dimensions. Stalwart fans will be stunned by the stylistic shift.

And this lovable eccentric has a unique way of making the murkiest topic sound disarmingly simple. And vice-versa. Opening ballad “Static On The Radio,” sung in his trademark whispery quaver, ponders the innate mysteries of AM-radio static. But its roots go deeper. “John Cage did that [4’33’’] thing, where it was just him sitting in a room, silent, and people started listening,” White explains. “So my basic idea was that, beneath what we seem to think is meaningless, there are incredible levels of meaning that you only get glimpses of. And you can’t just get it in the fast-food lane at McDonald’s—you really have to apply yourself in ways that probably aren’t too comfortable for people in this culture. And the whole notion of static itself is anachronistic, because people don’t listen to radio static anymore. Like, I remember nighttimes around midnight when I was a kid, we used to hear this one cool radio station that came outta Little Rock, and you had to get your car in just the right place to hear it. And if a cloud came by, it would disappear—it was beautiful.”

Only one number, according to White, shoots directly from the hip: “Combing My Hair In A Brand-New Style.” Which he actually is these days, now that he’s ditched his signature cowboy hat. Why the sudden switch? “I got tired of that hat,” White murmurs, painting—as usual—a much bigger picture. “That hat was a disguise, and after a while I realized I didn’t need it anymore—I was a disguise unto myself. That’s why I mention buzzards a lot on my album. Things just died and they’re attracting the messengers of the next incarnation of existence.

“And that’s my life right now—I’m moving on, and it’s hard. It’s hard when you’re well-acquainted with sorrow to move on to a realm of happiness, but that’s kinda where I’m going.And I don’t have a vocabulary yet to describe this new world, so I’m kinda walking backwards, looking at where I was, but walking toward a good world.”

A universe of sunshine and smiles? Why not? White’s tried his hand at just about everything else.


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