{"id":7508,"date":"2021-11-19T07:42:26","date_gmt":"2021-11-19T07:42:26","guid":{"rendered":"https:\/\/aata.dev\/?p=7508"},"modified":"2021-11-19T07:42:28","modified_gmt":"2021-11-19T07:42:28","slug":"lilly-daughter-of-john","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2021\/11\/19\/lilly-daughter-of-john\/","title":{"rendered":"LILLY, DAUGHTER OF JOHN"},"content":{"rendered":"\n

LILLY, DAUGHTER OF JOHN<\/strong><\/p>\n\n\n\n

by Norman Warwick<\/strong><\/p>\n\n\n\n

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From a strap-line, presumably self-penned, I learned recently that \u00b4Bostonian culture journalist Andy Crump (left)<\/strong> covers the movies, beer, music, and being a dad for way too many outlets, perhaps even yours. He has contributed to\u00a0<\/em>Paste\u00a0since 2013. You can follow him on\u00a0<\/em>Twitter<\/em><\/a>\u00a0and find his collected work at\u00a0<\/em>his personal blog<\/em><\/a>. He\u2019s composed of roughly 65% craft beer\u00b4.<\/em><\/p>\n\n\n\n

Movies, music, real-ale and parenting certainly make him sound like a pretty normal guy. I, too, view movies and hear music as being important, believe that ale is the bread of life and now learn more from my forty year old child than I ever taught him,\u2026.and like Andy Crumb, I also write about all that stuff. in fact, although I don\u00b4t write anywhere near as well, I write with the same ethos as Andy that the only thing more important than the arts (and children) is  the creation of them so that we can learn from them.<\/p>\n\n\n\n

Young Mr. Crumb began one of his latest arts reviews, however, by referring us to the sciences.<\/p>\n\n\n\n

\u00b4<\/strong>Science\u00b4,<\/em> he said, \u00b4tells us that going out fully vaccinated in the current phase of the interminable COVID-19 pandemic is, for all intents and purposes, \u201csafe.\u201d Science also tells us that COVID-19 is a worldwide mass-trauma event. Spending 16 months indoors and cut off from meaningful social interaction laid us all out, especially when occasional short stretches of \u201cnormalcy\u201d seemed to inevitably crumble, back into the familiar sensations of paranoia and fear.<\/em><\/p>\n\n\n\n

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Lilly Hiatt has released her new record, \u00a0Lately, (right)<\/strong> just under two years after her last one,\u00a0<\/em>Walking Proof<\/em><\/a>, though time dilation shrinks that period down to what feels like two weeks. Didn\u2019t\u00a0Walking Proof just\u00a0come out? Hiatt hunkered down in her home, as most did through COVID\u2019s early rampage, and her mental health took a bruising just like everyone else\u2019s. We\u2019re in the sweet spot of post-COVID popular culture, where films, TV shows, books and records produced during the pandemic\u2019s worst stage will, whether intentionally or accidentally, reflect the author\u2019s experiences under lockdown, for better and worse, with the emphasis on \u201cworse.\u201d Some people are solitary as a matter of habit. COVID forced them to double down on their solitude.<\/em><\/p>\n\n\n\n

This gives Lately, an unfussy, straightforward album, layers of meaning: It\u2019s an attempt at reconciling with imposed isolation and a display of solidarity for Hiatt\u2019s similarly isolated friends, family, neighbours and fellow Nashville residents. Hiatt speaks to that collective loneliness starting on the first three songs, Simple, Been and the title track,, each expressing different pieces of what Hiatt\u2019s gone through during the pandemic in totally different ways; they\u2019re related, but unique. In fact, the sequencing of these tracks captures the American zeitgeist in reverse: relief, anger and longing, a reminder that writing good songs is important but putting them in the right order comes a close second.<\/em><\/p>\n\n\n\n

\u201cI cannot remember the last time I felt so good \/ Just talking with my family in the neighbourhood,\u201d Hiatt sighs on Simple before exhaling into the chorus. Kate Haldrup brushes her snare drums, Steve Hinson twangs his pedal steel, Hiatt duets with Mike LoPinto on guitar, Robert Hudson\u2019s bass gives a jovial hum; the harmony they make is as soothing as the thoughts and memories Hiatt pours into her lyrics. There\u2019s a division in the song\u2019s time and place. She could be singing about better days before people had to stay apart, or she could be singing about that much-anticipated reunion with her mom, dad and siblings, tangled arms wrapped up in hugs too long in the waiting.<\/em><\/p>\n\n\n\n

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But Hiatt\u2019s emotions are fractured. She\u2019s only human, and she\u2019s suffered under a very specific kind of duress. Simple gives way to Been, replacing assuaging tones with a sterner account of that suffering and what Hiatt (left)<\/strong> did to get through. \u00b4I close my eyelids tightly \/ I think of Amsterdam \/ Biking through the alley \/ Black Angels turned to 10,\u00b4 she rumbles over punchier percussion. If Simple feels like a warm day spent lounging in a hammock, Been feels like a song born to be played in smoky bars full of dancing audience members, too caught up in the strut to catch the rebukes Hiatt weaves into the chorus. \u00b4You say this is all just a moment \/ So why don\u2019t you own it? You may never get this chance again \/ But you don\u2019t know where I been.\u00b4<\/em><\/p>\n\n\n\n

Last of this trio is the Lately track itself, where Hiatt pulls a 180 from Been: \u00b4One day this will all be a distant memory\u00b4, she chimes. In a way, she\u2019s actually just taking her own advice, acknowledging that this, too, shall pass and accepting what she can\u2019t control. But she can\u2019t help wax a little nostalgic, dreaming of the day she can just go out and enjoy living in the city. It\u2019s amazing how much we all took for granted in January 2020, how easy we had it when we could just walk into a store and buy cigarettes without worrying about, you know, death. But Lately doesn\u2019t take our old ease of living for granted. Hiatt moves on: The rest of the record looks toward other material, like busted relationships, \u00e0 la the reverb-forward Peaches, or the brisk closer, The Last Tear, which verges on a level of joy mostly missing from the record.<\/em><\/p>\n\n\n\n

The Last Tear embraces rock \u2019n\u2018 roll\u2019s liberating power. The song gives into uncertainty with gusto, returning to thoughts of COVID after Hiatt mostly puts those thoughts on the backburner following Lately: \u00b4Talking about it just makes me feel small \/ When will the last tear fall?\u00b4 Nobody knows. But being as nobody knows, it\u2019s perhaps best to rock on. Lately is a much more introspective and muted work compared to the countrified indie rock sensibility of Walking Proof, the style Hiatt is known for. The change of pace is welcome, though, and reveals much about where she\u2019s been as a person and where she\u2019s going as an artist\u00b4<\/em>.<\/p>\n\n\n\n

The name Hiatt has been noted on several tracks on my own playlists for the past several decades now, of course. This, though, was noted as Hiatt, John but I now look forward to adding Lilly to the lists as well, in the same Buffalo River Home that houses a gorgeous Perfectly Good Guitar among her father\u00b4s contributions-<\/p>\n\n\n\n

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John Robert Hiatt, (right)<\/em> (born August 20, 1952) is an American singer-songwriter.<\/strong>\u00a0He has played a variety of musical styles on his albums, including new wave, blues, and country. Hiatt has been nominated for nine Grammy Awards and has been awarded a variety of other distinctions in the music industry. Hiatt was working as a songwriter for Tree International, a record label in Nashville, when his song Sure As I’m Sittin’ Here was covered by Three Dog Night. The song became a Top 40 hit, earning Hiatt a recording contract with Epic Records. Since then he has released 22 studio albums, two compilation albums and one live album.<\/p>\n\n\n\n

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A variety of artists in multiple genres have covered his songs, including Aaron Neville, B.B. King, Bob Dylan, Bonnie Raitt, Buddy Guy, Chaka Khan, Albert Lee, Dave Edmunds, Delbert McClinton, Desert Rose Band, Emmylou Harris, Eric Clapton, Iggy Pop, I’m with Her, Jeff Healey, Jewel (see a forthcoming feature shortly, in Sidetracks And Detours), Jimmy Buffett, Joan Baez, Joe Bonamassa, Joe Cocker, Keith Urban, Linda Ronstadt, Mandy Moore, Maria Muldaur, Nick Lowe, Paula Abdul, Paulini, Rodney Crowell, Rosanne Cash, Ry Cooder, Suzy Bogguss, The Nitty Gritty Dirt Band, The Searchers, Three Dog Night, Willie Nelson, Asleep at the Wheel, and Willy DeVille. The Dutch singer-songwriter Ilse DeLange (left)<\/em><\/strong> recorded her album Dear John with nine of his songs.<\/p>\n\n\n\n

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The primary source for this article was written by Andy Crump for Paste on line magazine.<\/strong><\/p>\n\n\n\n

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we seek to provide core original material whilst sometimes spotlighting the best pieces from elsewhere, as we engage with genres and practitioners along all the sidetracks & detours we take.<\/strong><\/p>\n\n\n\n

photo<\/strong> This article was collated by Norman Warwick, a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/strong><\/p>\n\n\n\n

Norman has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio 4.<\/strong><\/p>\n\n\n\n

As a published author and poet he was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (where he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/strong><\/p>\n\n\n\n

From Monday to Friday,<\/strong> you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading over the weekend, you can visit our massive but easy to navigate archives of over 500 articles.<\/strong><\/p>\n\n\n\n

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The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at <\/strong>normanwarwick55@gmail.com<\/strong><\/a> with a couple of appropriate photographs in a zip folder if you wish. Being a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself<\/strong> in your submission. We look forward to hearing from you.<\/strong><\/p>\n\n\n\n

Sidetracks And Detours is seeking to join the synergy of organisations that support the arts of whatever genre. We are therefore grateful to all those share information to reach as wide and diverse an audience as possible.<\/strong><\/p>\n\n\n\n

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songfacts\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 en.wikipedia.org\/wiki\/SongFacts<\/p>\n","protected":false},"excerpt":{"rendered":"

The name Hiatt has been noted on several tracks on my own playlists for the past several decades now, of course. This, though, was noted as Hiatt, John but I now look forward to adding Lilly to the lists as well, in the same Buffalo River Home that houses a gorgeous Perfectly Good Guitar among her father\u00b4s contributions-<\/p>\n","protected":false},"author":2,"featured_media":7517,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[],"class_list":["post-7508","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/7508","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=7508"}],"version-history":[{"count":1,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/7508\/revisions"}],"predecessor-version":[{"id":7518,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/7508\/revisions\/7518"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/7517"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=7508"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=7508"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=7508"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}