“It had been such a ferocious night that someone in the smoky ship-pictured bar had said he could feel his tombstone shaking even though he was not dead or, at least, was moving; but the morning shone as clear and calm as one always imagines tomorrow will shine.” 

Dylan Thomas, Quite Early One Morning

One of the things that makes Dylan Thomas, in my mind, the greatest poet is his ability to weave ceaselessly between reality and romance.

In this collection, which he planned out himself before his death, makes it is easy to see why his words continue to be important and beautiful to readers.

Thomas’ ability to capture a scene, to write as if you can hear his voice (even if you never have) allows us to become charmed by his words in rather mundane situations. For instance, “A Child’s Christmas in Wales,” is the story of nostalgia – a view to Christmas through the eyes of a child who still sees the wonder in snow and recognizes this is a time to long for.

The lyrical sense of Dylan Thomas’ writings makes them come to life off the page. The author often recorded and performed live variations of his work, and they were captivating. Storytelling is an art, and Thomas had perfected that art. What is even more magical about his ability is the fact that everything was written through the lens of a poet. His stories were written as songlike to be structured in our minds as flowing, gentle works, and read to us like a nightly story to lull us into a meditative sleep.

Dylan Thomas was taken from this earth at a young age. He was only 39 when he died, and his title as a “doomed poet” was solidified in his death. Most people believe that it was because of his alcohol abuse that he passed, but in reality, the underlying medical problems that went untreated or wrongly treated by shady physicians led to a far more serious destruction of his health than his heavy drinking.

Those who knew Dylan Thomas describe him many ways, but one word seems too often to come up: robust. He brought life to the rooms he entered, and in many ways, he brought hope. His body of work is astounding for one with so few years, and it remains as a shining example of what lyrical, twentieth century, nostalgic poetry is all about.

The post Quite Early One Morning appeared first on Clutch MOV.

Right out of the gate, Chuck Prophet lets you know what it’s going to take to keep up on this record. This Americana-Folk-Rockabilly-Blues-Cali-Rock & Roll album is genre defying and unstoppable.

This is far from Chuck Prophet’s first work. This is his 14^th solo album, and just one of many he has recorded with his wife, Stefanie Finch, and rock group, Green on Red. His body of work is extensive and worth checking out, but this record, his first in three years, is an unstoppable West Coast force. It feels like Tom Petty decided to go wild, and asked Lou Reed to come along. It is insanely good.

“A tattoo of a Matador, that’s my family crest,” is crooned by Prophet in Coming Out in Code as he explains to us the ways of life and love and missed chances.

The title track, Bobby Fuller Died for Your Sings, kicks off the album and takes on the mysterious happenings of Bobby Fuller’s untimely death. With little known as to what actually happened to the I Fought the Law singer, Prophet embellishes Fuller’s passing as a sacrifice for our sins and, in return, we are given the gift of rebellious rock and roll.

“I hear the record crackle, the needle skips and jumps…

And I ain’t never seen a movie that moved me half as much

Bobby Fuller died for your sins”

This song is offered as a hymn to open the skies and invite the power of dance to come forth and leads us through to the albums halfway point, In the Mausoleum. This track features guitar licks that would worry even Dick Dale.

After this track, Prophet begins to soften his approach and begins the wind down to mellow us for the approach and landing of this outstanding record.

Chuck Prophet, 54, has been a part of music for a long time. His experience shows on the album, Bobby Fuller Died for Your Sins. The effortless way he makes each track sound truly exudes California cool. This kind of Zen is hard to fake, and it is transparent and flimsy when it is falsified.

This record is worth your time, and if all of this has not convinced you, I present one final piece of evidence: Track 10 is a song titled, If I Was Connie Britton. There is no way that any person can resist hearing a song with that title. I defy you to try. We as humans have passed wanting to be Gandhi, Mother Teresa, or Elvis, and we now know that our worth lies in the true star of Friday Night Lights, Connie Britton.

Seriously, this record is a shining star on a dark night. It is 100% worth your time and streaming data.

The post Bobby Fuller Died for Your Sins appeared first on Clutch MOV.

The American Dream is elusive. The idea of a Dream once existed in the minds of previous generations, but is no longer a shared reality for America’s Millennials. The book “We Are Not Ourselves” is a story that echoes the wishes and wants of the American Dream by Irish immigrant, Eileen Tumulty.

Growing up in Queens, living in an apartment shared with her mother and father, Eileen’s upbringing was a tumultuous experience that never found normalcy in the middle, but swung as a pendulum between devastation and pure joy. Eileen’s ups and downs were greatly based on alcohol consumption and the happenings of the routine day.

Eileen’s father, known as Big Mike, was the kind of man that all the other patrons of Doherty’s Bar were drawn to and it was his secular wisdom that made these men lay their problems at his feet. He listened like a priest in confessional and sought to right wrongs with acts of contrition. He had a firm grasp on the world, and he applied his way of thinking to any and all situations, regardless of best practice.

At one point in Eileen’s story, she arrives home drunk and underage. The solution her father had was to sit her down and make her taste every liquor in the house. He does this in a way that makes it unclear if he seeks to educate her in the way of spirits, or if this is a punishment akin to eating a cigarette when caught smoking. Regardless, it’s clear that Eileen wants none of this life for herself. Her mother was trapped at home, useless under the spell of alcohol abuse; her father was a blue-collar hero that could not be taught anything and would attack with great vigor when his worldview is threatened. This life was not Eileen’s.

Eileen Tumulty had dreams – dreams that took her away from Woodside and gave her the urban life of fancy she has envisioned. It was no surprise that upon meeting Ed Leary on a blind date, Eileen was whisked away by his academic, intellectual ways. He was unlike any of the men she had grown around. He was an idealist, and in their future, would pass on lucrative positions to take a career he felt was on the moral high ground.

Eileen once adored his eccentric ways, but soon that wore away. She wanted the means and the comfort that came from taking the money when its offered. Ed & Eileen eventually marry and have a son, Connell. Being a mother, at first, suited Eileen, but she soon became resentful toward the child. She longed for her husband to have ambition, desire, and drive to want the fine things, but this simply was not his way. Adversity and difference often caused them to fight, to tear one another down, and to question why they ever began this life. However, during these times of hardship, Eileen began to gain perspective –  a perspective that the life she thought she wanted is really no different than the life she had as a child.

We often want the path that appears greener. It became clear to Eileen that the “other side” only seemed greener because she didn’t see or know the intimate details that the other side kept. Eileen “Tumulty” Leary learned that the concept of the American Dream had never existed, and it only lived in those ignorant of reality.

Author Matthew Thomas tells a familiar story in “We Are Not Ourselves” that is gripping from page one and holds on to the reader’s attention until the final sentence. This story is full of things familiar to us all, and it causes us to laugh, to cry, and even produce anger. This book is for anyone who has experienced hardships when they had hoped for better.

The post We Are Not Ourselves appeared first on Clutch MOV.

Last year we were introduced to Serial, a podcast that told one story, in installments, week by week – just as the name Serial would suggest. This program, from WBEZ Chicago and the creators of This American Life, had quite a reputation to uphold. Because as we all know, even if someone is ignorant to all the ways of public radio, they still can recognize heartthrob and This American Life host Ira Glass when he is presented. So, when Serial host, Sara Koenig, a long time producer of This American Life, began it was unsure what would become of this unique program. Needless to say, it became a phenomenon. All of a sudden, everyone was talking about this show and its content. Serial became a household name. There were water cooler discussions of the guilt or innocence of Adnan Syed and breakdowns of evidence. Even the Saturday Night Live writers and cast member Cecily Strong were such fans of the program that they turned an audio podcast into a visual experience by giving it life in a pre-recorded skit. It was fabulous; suddenly Serial was the new favorite of many NPR listeners. Personally, I used every lunch break, commute, and early rising with my infant son as an excuse to listen to Serial. It was catchy and fresh and each episode left the listener wanting more, and when it was over, the loyal fan base became lost awaiting for the next journey

Well, as we patiently await the arrival of season two, we should address how a complete listening experience managed to steal our hearts and captivate our minds in a world of visual distraction.

While the answer is not simple, I will say that something that is simply good draws our attention. In a culture that relies heavily and almost totally on trend, when something breaks the mold we tend to perk up and pay attention. It seems people are less concerned with Keeping Up with the Kardashians and are using their free time in a more constructive manner, of which they have very little. According to the Bureau of Labor Statistics, in a study conducted in 2013, adults between the ages of 25 and 54, employed, with children, have just 1.7 hours per day that is not dedicated to anything or anyone else. Now, this number is just an average, but still, 1.7 hours a day that you theoretically have control over. In the course of a year that is only 25.9 days that truly belong to you as an individual.

So, why do we give our precious time to something like Serial? Why would we take any free moment and immerse ourselves into a story that largely we didn’t know or care ever happened?

Because we want more.

We want deeper understanding and meaning of the world around us. Simply to leave behind trashy reality television and our constant barrage of social media alerts offers a reprieve for those who may not ever take the chance to step away. The best part, however, is it doesn’t require the listener to ditch their smartphone, the number one thing many say they can not live without. Serial allows us our need for connection, while distracting us into taking time to absorb the world around us.

The show was put in our pocket, and it gave us a way to escape the confines of the 9 to 5 office scene. It allowed us to unwind with a drink in our hand at night, and most of all it provided enjoyment. The enjoyment and entertainment of Serial was not cheap. It provided thought-provoking ideas while remaining accessible to even the most casual listener. Serial did not think less of its audience, as most programs do, but instead it encouraged them to take the ideas they presented further. An example of this: on their website they included documents and photos that went along with the episodes, so you could see the information for yourself and come to your own conclusions or liven up a debate with coworkers and friends.

In the highly academic film, Tommy Boy, Ray Zalinsky tells us that, “what the American public doesn’t know, is what make them the American public.” People are standing up against this kind of mentality and are refusing to be seen as ignorant or less than, and this is the reason shows like Serial, no matter their format, are bringing in fans from all walks of life and are seeing great successes. The ability to be seen as valuable is something we all wish to possess and intelligent, yet unpretentious programming gives us that gift.

Allowing people a break from staring at a screen is a necessary thing, however it is a rather difficult task to accomplish. Luckily, we still have storytellers in the world, and having people like Sarah Koenig, who is willing to share her gift with the rest of us, only helps further this trend. Perhaps the success of Serial will die down with the hype of its introductory season, but the seed of change has been planted and for those who do not wish to stay the course with this show will be introduced to a new project. All that matters is that we continue to learn and grow and take the time to inject meaningful thought into our lives, and once in a while, take a break from the screen.

The post The Podcast Known as Serial appeared first on Clutch MOV.

Attending a concert is one of the most beautiful things a person can do. Not only are they immensely enjoyable, but they also present the opportunity for lasting memories and jealousy-inducing stories for those who were not as lucky. This review houses one such story.

This past October, I had the opportunity to see Iron & Wine perform in his first West Virginia. visit. Needless to say, I was giddy. Not only is Iron & Wine one of my absolute favorite musical acts, but it was going to take place at a remote venue in my home state. The venue is called the Jerry Run Summer Theater and it is located in Cleveland, W.Va. Now, when I say this place is remote, I mean, remote. It most certainly is not a dinner and a show kind of venue; this theater is located nearly 40 miles off the beaten path, and nearly 60 miles from any cell phone or GPS reception.

When I arrived at the Jerry Run, I was curious and excited. Simply by viewing the theater, I knew right away it was going to be an intimate evening. After hearing a fabulous opener play amazing bluegrass and folk, Iron & Wine’s manager explained why we were here: Sam Beam, who embodies Iron & Wine, was dusting off some old songs that had rarely or never seen the light of day, and wanted to create his newest album, Archive Series: Volume 1, with them. We were the lucky chosen ones to be the first-listeners.

All in all that night, Sam would play seven songs that had long been buried, tell stories, and take requests. He explained that they also would be documenting the evening and were unsure what form it would take later on. Recently, the footage of that night surfaced online as a short film titled Dreamers & Makers are my Favorite People, and it was offered as a download along with a bootleg of the audio from the show that night. After viewing this film, the feeling of meaning in small shows and doing what you love washed over me. I was reminded how important our stories are, and I want to focus the rest of this piece on how wondrous an intimate evening of music with strangers can truly be.

Sam Beam walked out on stage after the most brief and sincere welcome I have ever heard. The applause of the close to one hundred people roared through the tiny theater and alone on the stage, center of a mural painted on the removable barn door back walls, was our storyteller for the night. After a few words and a thanks for coming, he picked up his guitar and asked the greatest question a musician can ask a room full of fans, “What do you want to hear?” We all knew that by asking this simple question we were in for a great night of room favorites, and with the exception of the tunes he came to play, he spent the next almost two hours crooning songs that have been some of my favorites for years now. He opened with a song called Upward Over the Mountain, and minutes into the evening I had tears fill my eyes. The music was sincere and honest and the people in attendance had risked being lost in the West Virginia hills for days, just for the chance to hear him sing these songs. Behind me,  I overheard one of the town locals say something about how she had never expected to see this many out of towners here, but she was glad she could be a part of something so extraordinary. It was a magical evening and one that will not be soon forgotten by the travellers or those who call Cleveland, W.Va. home.

Photo from Iron & Wine, Jerry Run Summer Theater Show:Bootleg, featured album artwork

As Sam Beam continued to ask for requests, the crowd had no shortage of suggestions. They ranged from songs that were featured many years previous to songs on his most recent album Ghost on Ghost. One of the more recent songs played was a track called Lovers’ Revolution. He expanded the original track timing by adding improvised lines and parts of verses and gave the audience a new song and experience. It was shortly after this song that he began the set he had come to play. Songs few had heard before and by his own admission, some that maybe were lacking the finesse of a now established songwriter. One being a song called Your Sly Smile, that he made fun of for giving a song such a stupid title. As he laughed, he moved on and played the song, showing everyone there that you can appreciate where you come from even more if you can see where you have been, and accept that sometimes it may embarrass you. It was a good song, and its funny how one person’s early start can sound so polished to a listener. At the close of his archive set, Sam Beam returned to asking for requests, but not before playing Communion Cups and Someone’s Coat from Around the Well, unprovoked. Its interesting how fate at a folk show happens; his opening song, this song, and his closer are by far my three favorite Iron & Wine songs, which is why I believe intimate shows provide people with their destinies, even if they had no idea it was missing. That night he closed the show with The Trapeze Swinger, an epic of a song that begs remembrance once we are gone. For years, it was only played live and was infamous for being a near 10 minute song, sometimes much longer. It was the perfect way to shake hands with those who had come so far to hear someone else tell their story and share their dream. As we stood and applauded his final thanks, it was clear we would all leave touched by a great night.

Standing in the foyer of the theater, my wife and I were ushered upstairs by Sam’s manager to say hello. After thanking him and struggling to find the words to say to a hero, he signed our travel book and wished us safe travels. The whole experience was fabulous, and to see how humble and sincere he was made it even better.

Obviously, I am a fan of intimate shows and the power that they hold. The night I experienced is something that could never be felt in an arena, at a more corporate style concert. When you go to that style show, and often pay way too much to be there, you are rewarded with nothing more than a live performance of a CD; a set list so rigid that the show in New York City is the same as the show in Los Angeles- a show with no personality or life of its own. Within the confines of a small show, you are rewarded with personal interaction, with seeing the story in the artist’s eyes, and you share that reward with the few people who surround you. I highly recommend to anyone who has not heard Iron & Wine’s music to go online and spend $4.99 to download the film and live album. It’s a great place to start, and you won’t be disappointed.

I would like to thank WV Public Radio, Joni Deutsch, and her show A Change of Tune (10PM on Saturday nights) for setting up this opportunity for us to be in attendance. Thank you for bringing the power of music back to the grand state of West Virginia.

The post Dreamers & Makers are My Favorite People appeared first on Clutch MOV.