There are many features in Mojo that I really like or, for
which I’m at least grateful. Definitely
fitting into the latter are obituaries of individuals who have died since
publication of the previous edition.
Now, I’m not one of those people who seeks out obituaries in the daily
press and since the Australian mainstream media only tends to highlight
music related deaths if the individual concerned was extremely well known (as
it was for Ray Manzarek of The Doors recently), a local icon (such as Chrissie
Amphlett) or anyone unfortunate enough to die in circumstances (i.e drugs,
drink, suicide, etc) allowing for the publication of sensationist
reports about the rock and roll lifestyle.
Consequently, I miss out on hearing about the deaths of many worthy acts
or figures at the time these occurred and this feature in Mojo keeps me up to date.
And so it was the case last night. Of all the individuals noted in Mojo, the
ones I could recall previously reading in the media here was that of former
Mickey Mouseketeer, Annette Funicello and, strangely, original Yes guitarist
Peter Banks. Among others, whose deaths
I now discovered were the producer Andy Johns, music critic and Dylan expert
Paul Williams and the producer whose surname inspired a band name, Phil
Ramone. But I groaned when I read that
Jason Molina had died on 16 March.
Jason Molina was a singer/songwriter who specialised in a folk/country/rock
setting, in some respects similar to Neil Young without going to the latter's abrasive
extremes, especially when it came to rock.
His songs were often intense and personal, sometimes dark and unsettling
but also bright and full of hope. He
had released 18 albums in his lifetime, only three of which were under his own
name. What especially upset me was that
he had toured Australian a few years back.
I’d skipped these shows then as they were on rather inconvenient dates,
assuming he’ll return. But now all
that’s left are the albums and I knew that I have four on my iPod that forms
today’s playlist.
(# 522) Songs:Ohia –
Axxess & Ace (1999)
Songs:Ohia was Molina’s first recording entity, basically
himself with whatever musicians he surrounded himself. This album comprises mostly comprises country
tinged acoustic tunes augmented by the judicious use of electric
instrumentation. Come Back To Your Man
adds mournful violin to brilliant effect and the poignant closer Goodbye Lover
is superb.
(# 523) Songs:Ohia –
The Lioness (2000)
The Mojo obituary describes this album as “one of the
greatest love song/rebound albums of its time” and I’m not going to
disagree. The electrical instrumentation
is slightly increased with understated keyboards added to the mix. Being In Love is a beautiful tune that seems
to draw inspiration from some of Will Oldham’s work from the same era and which
simultaneously anticipates Bon Iver. The
last few tracks are sparse gems, especially Back On Top and Just A Spark.
(# 524) Songs:Ohia –
Magnolia Electric Co. (2003)
The final album released under the Songs:Ohia moniker, this
is a very highly regarded album. It was
produced by, of all people, Steve Albini who deftly enables Molina to integrate
the full range of traditional country instruments. The last three tracks are particularly
effective. Peoria Lunch Box Blues is a duet with a female
vocalist with a voice quite similar to Joni Mitchell’s, John Henry Split My Heart is dramatic and
Hold on Magnolia is a sprawling number that travels at a leisurely pace and
reveals much with repeated listening.
(# 525) Magnolia Electric Co. – What Comes
After The Blues (2005)
Magnolia Electric Co. was Molina’s other identity, a rock
band with a pronounced country influence. Again produced by Albini, the album
builds on Magnolia Electric Co (the album.) The opening track The Dark Don't Hide It notably
channels Crazy Horse and Hammer Down is a great ballad that Neil Young could
have written or performed. Leave the City adds a horn making the band
sound very similar to Calexico. 
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