Listen to “Liberty Street”, unreleased Bob Dylan song performed by Dawes’ Taylor Goldsmith

Pictured: Elvis Costello, Jim James,T Bone Burnett, Jay Bellerose, Rhiannon Giddens, Marcus Mumford, Taylor Goldsmith. Photo Credit: Sam Jones/Showtime © 2014 Showtime Networks Inc

Pictured: Elvis Costello, Jim James,T Bone Burnett, Jay Bellerose, Rhiannon Giddens, Marcus Mumford, Taylor Goldsmith.
Photo Credit: Sam Jones/Showtime
© 2014 Showtime Networks Inc


As previously reported, an all-star contingency of folk rockers recently convened to create music for two dozen newly discovered lyrics written by Bob Dylan. Entitled Lost On The River: The New Basement Tapes, the 15-track collection is the culmination of two-plus weeks of studio time by My Morning Jacket’s Jim James, Mumford and Sons’ Marcus Mumford, Elvis Costello, Dawes’ Taylor Goldsmith, Carolina Chocolate Drops’ Rhiannon Giddens, and super producer T-Bone Burnett. The lyrics in question date back to 1967, taken from the same period that spurred the recording of Dylan’s iconic Basement Tapes.

In anticipation of the album’s release, the collective has already shared several album tracks: the Jim James-fronted “Nothing To It”, the Elvis Costello-led “Married To My Hack”, the Marcus Mumford-helmed “When I get My Hands On You”, and “Spanish Mary”. Today, Goldsmiths takes over as frontman on “Liberty Street”.

Despite the sheer star power of the project, this song is perhaps the most quaint and minimalist of the entire project, with Goldsmith crooning over some gentle piano and the faint whispers of a back-up chorus. Still, that light touch perfectly fits the song’s overall scope, with undertones of religious exploration and a message of personal growth/freedom. Watch its accompanying lyric video below, a slightly abstract animated piece.


The New Basement Tapes – Liberty Street (Lyric Video



Lost On The River: The New Basement Tapes will arrive November 11th via Electromagnetic Recordings / Harvest Records. The album is being accompanied by a Showtime documentary set to debut on November 21st.  According to a press release, director Sam Jones’ Lost Songs: The Basement Tapes Continued presents an “exclusive and intimate look at the making of Lost On The River: The New Basement Tapes set against the important and historical cultural backdrop of Bob Dylan’s original Basement Tapes.”

Meanwhile, Dylan himself will release the entire collection of The Basement Tapes on November 4th. The Basement Tapes Complete: The Bootleg Series Vol. 11 spans a whopping 138 songs, including 30 never known to have existed. Stream it in full here.

Lost On The River: The New Basement Tapes Tracklist:
01. Down On The Bottom
02. Married To My Hack
03. Kansas City
04. Spanish Mary
05. Liberty Street
06. Nothing To It
07. Golden Tom – Silver Judas *
08. When I Get My Hands On You
09. Duncan and Jimmy
10. Florida Key
11. Hidee Hidee Ho #11
12. Lost On The River #12
13. Stranger
14. Card Shark
15. Quick Like A Flash *
16. Hidee Hidee Ho #16 *
17. Diamond Ring *
18. The Whistle Is Blowing *
19. Six Months In Kansas City (Liberty Street)
20. Lost On The River #20

* = Deluxe edition only

Watch Jim James’ new video for “State of the Art (A.E.I.O.U.)”


Former cover story and classroom instructor, Jim James (My Morning Jacket), is back today with the new video for “State of the Art (A.E.I.O.U.)”, the opening track on his solo debut, Regions of Light and Sound of God. Created by Bay Area production company Clean White Lines — whose entry beat out many in a contest held by James — the gloomy visuals follow a character with a TV for a head, as he wanders through a city and interacts with its people. Much like the song itself, it’s a critique on man’s ever-evolving and complicated relationship with technology. Watch it below (via Billboard).

Published on Oct 22, 2013
The official music video for Jim James “State Of The Art (A.E.I.O.U.)” from the album Regions Of Light And Sound Of God.

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Directed by: Clean White Lines
Editor: Staci DeGagne
Director of Photography: Alexander Fletcher
Starring/Producer: Joe Barham
Featuring: Addison Brewer-Hay, TiNka Kalajžić Ines,Dave Malloure, Frances Reyes-Bolinger

Daylight come
Daylight go
How far will it reach
Ain’t nobody know
When the dawn breaks
The cradle will fall
And down come baby
Cradle and all
Now I know you need the dark
Just as much as the sun
But you signin’ on forever
When you ink it in blood


I used the state of the art
Supposed to make for better living
Are we better human beings?
We’ve got out wires all crossed
Our tubes are all tied
And I’m straining to remember
Just what it means to be alive
A life worth living
Now you can feel it in your chest
Buildin’ like little birds
Just building up the nest
And you build it up strong
And you fill it up with love
And you pray for good rain
All from the lord above


I sued my state of the art
Now don’t you forget it
It ain’t using me
Cause when the power’s goes out
I got over me
Cause the power’s goin’ out
I think the power’s goin’ out
I mean it, the power’s goin’ out
I really mean it the powers goin’ out



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Jim James of The Morning Jacket at The Fonda Theatre in L.A.: Concert Review


Spiritual ruminations meet perfected jam sessions during the My Morning Jacket frontman’s two-hour set, May 11.

Jim James @ The Fonda Theater – Concert Review

The My Morning Jacket frontman goes track-by-track through his solo effort before switching gears to an encore that included a caped cameo by Bright Eyes’ Conor Oberst.

Jim James‘ hair is gloriously alive. During solos where the My Morning Jacket frontman hunches over his guitar, the enormous mane overshadows everything else, giving the impression that strands of hair are furiously strumming the instrument.

The opening of James’ set Saturday at the Fonda Theatre in Los Angeles, however, began in a more composed manner. The multi-instrumentalist and singer, attired in a suit and tie, led the evening with songs exclusively from his ambitiously titled solo album, Regions of Light and Sound of God, released Feb. 5.

Beginning with “State of the Art (A.E.I.O.U),” the bass-grooving album opener, James went track-by-track through Regions. The dense solo album’s spiritual inclinations were previously stated by the singer to be inspired by the “hazy dream” of a robot and 1929 graphic novel God’s Man. And the reflective interludes, chants and saxaphone solos  initially were a stark contrast to the Southern alt-rock sensibilities of My Morning Jacket.

“I use my state-of-the-art technology/Now don’t you forget it: It ain’t using me,” he crooned.

“Know Til Now,” the first single released from the album, featured a sound akin to material that producer Brian Burton (Danger Mouse) could’ve conjured for James Mercer‘s Broken Bells project or Beck‘s Modern Guilt. “Dear One,” a standout track on Regions, was punctuated by two precisely executed drum solos that drew cheers from the standing crowd at the packed venue.

Like the album, the songs transitioned seamlessly into one another, and James didn’t see the need to break up mood by adding any topical comments. His first words were a cryptic introduction to the fourth song, the sparse “A New Life.”

At times, the expanded live versions of the Region tracks took stabs at grand gestures. The bleak solos of Pink Floyd’s “Shine on You Crazy Diamond” and the manic tone of Radiohead’s “The National Anthem” appeared to be influencers.

Jim James @ The Fonda Theater

Jim James @ The Fonda Theater

Throughout the set, James ambled about the stage in a playful mood. He snatched what looked like a bronze ornamental bear prop and playfully twirled around before returning it to its proper place. And, periodically, he would freeze in position, stare out at the audience and smile as if there were some joke that the crowd was missing.

At the conclusion of album closer “God’s Love to Deliver,” James only briefly stepped away from the stage before starting the encore with acoustic tracks. His rendition of the latter-day My Morning Jacket song “Wonderful (The Way I Feel)” was helped by stripping the string accompaniment that made the track sound rom-com syrupy on the album.

From there, the evening finally switched gears to head-nodding rock jams when James broke out material from his supergroup side project, Monsters of Folk.

During “Dear God,” the most notable track from the self-titled album, the hirsute frontman was joined by fellow Monster of Folk, Conor Oberst, for a cameo verse. The Bright Eyes singer appeared on stage wrapped in black cape and added his voice to a few lines before unfurling the cape with arms outstretched for the remainder of the track. At the end of the song, he covered his head and vanished offstage.

The set ended with three more Monsters of Folk tracks — “His Masters Voice,” “The Right Place” and “Losin Yo Head” — before ending with a rousing song from his contribution to New Multitudes, a Woody Guthrie tribute album, called “Changing World.”

Then, James inexplicably snatched the ornamental bear once again and appeared as if he were going to toss it into the audience. He seemed to offer it a prayer before setting it aside and leaving the stage for good.

Set List: 

State of the Art (A.E.I.O.U)
Know Til Now
Dear One
A New Life
Of the Mother Again
All Is Forgiven
God’s Love to Deliver


Wonderful (The Way I Feel)
Dear God (with Conor Oberst)
His Master’s Voice
The Right Place
Losin Yo Head
Changing World


My Morning Jacket – Fleet Foxes Album

The Morning Jacket band members

My Morning Jacket has been a rising star in music since the band’s inception in 1998. Although their debut, The Tennessee Fire, was a landscape of spacious folk and a gorgeous slice of americana, as was the follow-up, At Dawn, My Morning Jacket broke through to a wide audience with 2003’s It Still Moves. The album was coated in a beer batter of southern rock – fried with bits of sweet, lush vocals that carried their previous work. Then came 2004’s Acoustic Citsuoca: Live at the Startime Pavilion, a live EP of a Jim James solo performance. Merely five songs, Acoustic Citsuoca solidified the reason why My Morning Jacket was so appealing – not their southern rock rumbles, psychedelic ramblings, or roomy, melodic ripples, but Jim James’ remarkably powerful, yet intimately welcoming voice. In 2006, the band released Z, an inspiring mélange of folk, rock, R&B, blues, and pop music. Z was a heartfelt speech, a call to arms – it was a statement. It showed the band experimenting with sounds that distinguished them from every other rock band, including My Morning Jacket itself. But, more importantly, in all of its exploration, Z kept on track, keeping Jim James’ vocals at the head of the pack. The album catapulted My Morning Jacket to headlining status, finding mainstream success, but maintaining its jam band-type fanbase. Now we reach 2008 and face Evil Urges, the band’s fifth full-length and, unfortunately, the exploration of Z has led My Morning Jacket over a cliff. But, lucky for us, we have Fleet Foxes.

There is certainly something to be admired about Evil Urges. Again, it is a bold statement in music, blending the flair of southern rock with a synthetic, R&B panache, but is overall just too audacious. Despite the intriguing influences that pop up throughout the album, anywhere from Prince to Faith No More, Evil Urges fails to highlight My Morning Jacket’s best attribute, which is Jim James voice. Even in songs that slip back into My Morning Jacket’s signature southern sound, such as “Thank You Too” and “Two Halves,” James’ voice comes off weak. And, although the James has never been known for his lyrical wit, the lyrics in Evil Urges fall very flat. “I believe in a perfect world you’d rule your own universe. The only company you’d need would be in your brain.”

Fortunately, Sub Pop released Fleet Foxes’ self-titled debut album, which takes the best parts of My Morning Jacket’s catalog, laces it with Beach Boys harmonies, and infuses it with the urgent, yet dreary sound of Fleetwood Mac. Fleet Foxes seems to be the album that My Morning Jacket would progress towards, one that is vocally robust and musically dusty. Robin Pecknold’s lead vocals even resemble Jim James’. The backing vocal harmonies emphasize the strength of Pecknold’s voice and the touches of reverb emulate the brawn of a southern gospel choir. In fact, “White Winter Hymnal” sounds like the chant of a Southern Baptist choir singing at the bank of a rushing river, watching a minister baptize a newborn in the river. The album treads the waters of southern folk-rock on a ship made from the sunshine pop of the Beach Boys and The Zombies. It is a sandy beach along the Blue Ridge Parkway. It is the summit of the Smoky Mountains breaking the surface of the Pacific Ocean.

If it is the fear of being pigeonholed that forced Jim James to make Evil Urges, such fear led him into an inescapable corner. Rather than running from his southern inclinations, James should have embraced them, as Fleet Foxes did. Fleet Foxes is the album that My Morning Jacket fans wanted to hear, if not deserved to hear, as it accents Pecknold’s gorgeous voice and maintains a folk quality that is as pleasing as Neil Young’s Harvest. Sadly, My Morning Jacket’s exploration on Evil Urges is similar to Neil Young’s exploration on Trans, in which he attempted to navigate the murky waters of innovation, but got lost in the fog. “Touch Me I’m Going to Scream Part 2” is the album’s only upside as it appropriately accents Jim James’ voice along a forceful musical backdrop. But, if you’re looking for a full remedy, Fleet Foxes is your answer.

By Better Propaganda
Caleb Morairty

My Morning Jacket’s Jim James Plots ‘Mellow, Different’ Solo LP – By Rolling Stone

Jim James of My Morning Jacket performs during the 2012 New Orleans Jazz & Heritage Festival in New Orleans. Photo: Kevin Mazur/WireImage

By Rolling Stone
May 24, 2012

My Morning Jacket’s sixth album, Circuital, has been out for a year, but the tour behind the disc is still going strong. In two weeks, they head to Europe to hit up a bunch of festivals, and in mid-July they’ll launch an American tour of outdoor venues with more fest stops. Frontman Jim James says the group doesn’t plan out the evening’s setlist until a few hours before going onstage.

“You’re not always sure what’ll happen in a given night,” James says. “I’ve been trying to be more open to just letting things go. Some nights you’re feeling really good and you’re ready to rock, and other nights, if you’re sick or you’re tired, you get into more of a dark groove and you wanna follow a different path.”

In October of 2010, the band played their first five albums in succession during a residency at New York’s Terminal 5. “It made me appreciate some of the older songs. It also made me hate some of them even more,” says James, who wouldn’t name the tunes that caught his ire. “There were some songs that we never really played or even thought about and I enjoyed playing them, but it also reconfirmed my hatred for some of them.” James is open to playing the band’s entire catalog at some point in the future. “Hopefully that’ll happen again,” he says. “It’s important.”

When the tour wraps, James will turn his attention back to his debut solo album. “It’s done,” says James. “I think it’s gonna come out in early February of next year. I think people who are fans of My Morning Jacket will obviously recognize some things on there, my voice and stuff like that. It’s got some mellow stuff on there, but it’s also got some really different stuff. I’m really proud of it. I think it’s got some different soundscapes that I’ve been into that maybe have been hidden on some Jacket records.”

James enjoyed the opportunity to record with other musicians. “One of my childhood friends, who was in the first band I was ever in, plays drums on most of the record,” he says. “Now I’m trying to put the band together to go on tour with after it comes out. I’m getting back together with friends I haven’t played with in a long time, from home. It’s very exciting.”

In the meantime, My Morning Jacket are plotting a follow-up to their epic New Years Eve show at Madison Square Garden in 2008. “We were all just talking about that a second ago,” James says. “It’s a shame because we wanted to do more New Year’s shows at the Garden, but Phish booked it for the next four years. We haven’t confirmed this yet, but we’re close to finalizing a New Year’s show in Boston. It’s just not one hundred percent yet. The crowd there is always really rowdy and fun. It would also be an easy travel for people in New York or Philly. Again, it’s not one hundred percent, but we’re all kind of drooling over the idea right now.”

Rolling Stone