Scratching Below the Surface of Mary Bue's Latest Album: The World Is Your Lover

Have you ever tried to write an original tune? OK, maybe you can, but can you keep writing them month after month, year after year? And not just original, but something that connects with listeners and sticks with them?

Writing music, creating it out of nothing, is much like looking at a blank sheet of paper and combining batches of words into a poem or story or novel. It's done every day, but not always effectively.

I've spent a lot of years contemplating the variety of expressions Bob Dylan's muse has expressed itself through him as a conduit. In a similar manner, artists like Mary Bue likewise seem to capture something original and evocative--maybe even magical--in their songwriting. 

Her latest album--I believe this is her sixth--is titled The World Is Your Lover, and the tracks are rich with emotion and energy.  

In a story titled Transcendental Bue a Minneapolis Star Tribune music critic subtitled the story, Mary Bue’s journey from Duluth to Minneapolis, New Mexico and India culminated in her best album yet, “The World Is Your Lover.”

Her best? I thought her last -- Holy Bones --was pretty good. Now I have to compare so I can decide whether I agree or not.

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I like the album cover and overall design. On the album itself (if you have the vinyl) there's a photo of Mary Bue embracing the globe. Upon seeing this visual I couldn't help but think of Woody Allen in Sleeper and the scene involving the Orb. Whether this is an intentional play on imagery or not I wouldn't know. It is certainly intriguing.

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The opening track on the album, titled "Sh*t Storm," is one powerful song. The closest thing I can compare it to is John Lennon's "Cold Turkey." Both songs have a story, but end in a turbulent whirlwind instrumental that replicates the feel. In Lennon's case it captures the feelings associated with heroin withdrawal. In Bue's, it's the apocalyptic whirl of our time in history. 

I walked for miles

On this parched earth

Once flowed with lava

Then a river birthed

And now the snow

Falls on the sage

When that shit storm comes

The earth’s gotta rage

I had a vision

The Great Lakes were drained

Superior Desert

Was her new name

Eagles cry

Barn owls shriek 

When that shut storm comes

It’s not gonna be good

Chorus:

Oh my god

Have you forsaken me?

All the gods

Are laughing now

As the earth starts cracking

And her bones start snapping

And the walls come crashing down

Oh my love 

He’s a brutal force

You can hear him coming 

On his big black horse

And he’s got friends

High and low

But when that shit storm comes

They all gotta go

I pray to Ganesha 

To tear down the walls

I pray in Chimayo

Protect those I love

I bow to the East

I bow to the west 

When that shit storm comes

Nobody’s gonna be left

Copyright 2020 Mary Bue

You can listen to this song and Purchase Album Here:
https://marybue.bandcamp.com/album/the-world-is-your-lover

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I've been itching to write about Mary Bue's latest album since last month and today is as good a time as any. Why? Because this coming Friday night there will be a livestream show from the Hook & Ladder Theater with special guests Turn Turn Turn and Alan Sparhawk. Here are the details:

MARY BUE CELEBRATES NEW ALBUM WITH FULL-BAND LIVESTREAM

with special guests Turn Turn Turn & Low's Alan Sparhawk!

THE WORLD IS YOUR LOVER RELEASE SHOW

Friday, October 23, 8 pm CDT

Livestream from Hook & Ladder Theater

Tickets: $15 | Pre-Sale Tickets: $10 (through Oct. 16)

Tickets + Info Here

Ticket holders can watch the show live or any time over next week.

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Related Links

My August Interview with Mary Bue

Transcendental Bue

EdNote: There is some language on a couple songs that some people will find offensive, though no more so than a majority of cable television series offerings.

Ingeborg von Agassiz's O Giver of Dreams Delivers as Promised

It began with a remark I heard from someone close to the music scene in 2016. I'd asked who locally was doing the most interesting work today. "Without question, what Ingeborg von Agassiz is doing," Marc Gartman replied. I made a mental note to catch her act sometime, but it wasn't in the cards as I am not the night owl I once was.

Eventually I learned that I already knew Ms. Agassiz as the artist Emma Rustan, whose work I'd previously written about on a couple of occasions here. (e.g. Art Crawl review in 2013)

This spring saw the release of Ingeborg von Agassiz's first CD, evocatively titled O Giver of Dreams, accompanied by a rave review from Tony Bennett in the Duluth News Tribune. The review was titled Album review: Ingeborg von Agassiz astounds on debut LP, and it opens with: Let's just skip to the headline: Ingeborg von Agassiz' debut album is one of the best locally-made albums in the history of locally-made albums. It's true. No hyperbole.

That kind of high praise gets your attention. Sure enough, this past weekend I caught part of her performance at the Bayfront Park Art Fair and acquired a CD. It's every bit as good as Bennett boasts.**

I approach this review by offering up a comparison. As is well-known (by regular readers here) I am an advocate for the music of Bob Dylan. For decades I've approached each of his new albums in a similar manner. I play the album through. A few songs immediately connect during that first listen, not necessarily every song right off.  But there are always a few tunes that grab you and, for me anyways, this is often the very first cut. From Time Out of Mind to Tempest it's happened every time. Then the second listen and a third, and after a while each song begins to unfold. An astute listener begins to see how much thought went into the production, the layering the the sound, the caliber of the band and, with Dylan (always) the richness of the lyrics, their beauty or complexity, variety or density.

Returning to O Giver of Dreams, Ingeborg von Agassiz has produced something every bit as complex and luscious, from both the production side and the literary quality of the songs themselves.

Dylan, for those who appreciate his work, is a master of evocation when singing. People who dislike his voice fail to appreciate what he achieves in creating emotion through intonation, from haunting to longing, aching to aspiring. Ingeborg von Agassiz is likewise evocative, forming words with deliberate aims on each of her songs.

Von Agassiz at Super Big Block Party 2017. (Photo credit: Andy Hardman)

Few will compare von Agassiz to Dylan, I am sure, because she has such a beautiful voice. What she achieves with that voice is far more than just a mercurial fluidity of sound. Having listened to O Giver about ten times this week I hear various echoes. Loreena McKennett comes to mind at one point. ABBA kept coming to mind and I couldn't figure out why, but it's because of the manner in which she sings in unison with herself on some songs. And, this will surprise you, Sgt. Pepper came immediately to mind as the album opened. The similarity is in the feeling of setting up a place where people are gathered, and there is anticipation. In Sgt. Pepper it is an auditorium audience; in O Giver of Dreams it sound like a restaurant or dinner theater with the clinking of glasses, forks, knives, plates, and the drone of people not yet paying attention to what is about to happen.

Then there are the songs themselves. That is, as a lyricist she has a remarkable maturity. Examples abound.

Lonesome Way
This first song begins, "Come with me. Come with me." Seductive without being sensual, inviting the listener to enter this story, her story. (Keep in mind that it is a song and that historically the narrator of a song may not necessarily be the real person's story. This could be a fictional story, sung first person, the way folk singers sing "Barbara Allen.")

As the opening of the album, it can also be taken as an invitation... "take this journey with me." But it could be simply the invitation of this song. "Come along with me in my lonesome misery..." What an unexpected turn. Already, we have been diverted into a different path from the one expected. Lonesome misery. How? Why? That is what this first song is about, the how it happened and why.

I will make another Dylan comparison here as well. Many of the lyrics have been written with a seemingly measured ambiguity that invites further analysis and reflection. This occurs here and in a few of the other songs.

It should be noted that von Agassiz has produced all the music, all the vocals, the percussion and everything else herself. When she performs she uses looping and layering, much the way Gaelynn Lea or Israel Malachi have been doing over the years. The arrangements are terrifically complex and sophisticated.

At the Earth Rider Grand Opening.

Oh What A Morning

Another comparison is in order here. Some may suggest exaggeration but I think not. Von Agassiz has a knack for creating catchy tunes that stick with you, like the Beatles whose early tunes climbed the pop charts like monkeys. The other day I woke with the opening of this song going through my head. "Oh what a morning, oh what a morning, oh what a morning, oh what a morning." The song opens with this phrase repeated by a unison chorus, four times. Then Inge opens the song, with accompaniment, "Oh what a morning..."

This song is like the first in that it, too, is in invitation. It's from a child's point of view. What a beautiful morning. Won't you come out and play with me? We can go ride our bikes. We'll climb trees. And I will show you my new dance, if you let me.

Oh, the Hillside 
This tune is a change of pace, sung as if a lament, a nostalgia piece. The central theme is the hills of Duluth. The verses outline the Duluth experience, from the hillside to the bells of Old Central, thnd e freighters, the lift bridge going up and down, the howling wind, the lighthouse on the pier, the train chugging by, Fitgers, and the mystery of the Great Lake. The song's straightforward lyrics are beguiliing when juxtaposed with its haunting tune.

Bulletproof Vest
"Going south, south for the winter
That's what I'm gonna do next year."
In an album with so many special tracks it's difficult to pick any one to be your favorite, but this one would certainly be a candidate. It's a solid song with intriguing lyrics sung in a crafted manner that draws you in. An old man, an obituary, a funeral... and a chorus that reinforces a contradiction.

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Maybe the magic of Ingeborg von Agassiz's songs has something to do with the collision of innocence with innocence lost. You certainly hear this in Sun Beats Down and Rebel Robin. The pointed "O Giver of Dreams" is a serious song as well, followed by Runtchkin Love's opening line, "I plucked my eyebrows to a shape of pity and despair."

The lyrics throughout belie their depth, much like Dylan's "All Along the Watchtower."

The CD rounds out with "What's Wrong With Me" and "Will You Go?"  and when you reach the end you will want to listen again.

Verdict: O Giver of Dreams is an exceptional achievement.

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Related Links
Follow her here at www.ingeborgvonagassiz.com
or here on Facebook.
**Tony Bennett review in the DNT

Bringing It All Back To Duluth Does Dylan -- Inspired Local Musicians Step Up Their Game

Although we heard poets, saw artwork and films, and experienced events last week, what really struck me was how much great music we heard during Duluth Dylan Fest. One of the highlights was Tuesday's CD release party for Bringing It All Back to Duluth Does Dylan. The party took place at the Rex, featuring most of the bands who recorded this year's 15 tracks for the CD. It was like a week of Homegrown compressed into a handful of hours.

I can't say enough about this latest CD. This is the fourth Duluth Does Dylan, a new one released every five years. And it is sensational. Local painter Adam Swanson created the cover art, with liner notes by Dylan archivist Bill Pagel. Referring to this series of CDs, Pagel writes, "These albums have, in a sense, become a time-capsule of the growing and ever-changing Duluth music scene over the past 15 years. Contrary to what some believe, Bob Dylan is both proud and fond of his roots in northern Minnesota. Duluth is proud of its local artists and musicians. This latest CD is a tribute to Duluth's musicians and the music of Dylan, who many consider one of the most influential Americans of the 20th century (and into this 21st century.)"

Here's my attempt to convey a sense of the songs as performed this fourth time around.

Boomchucks Maggie's Farm
The Boomchucks version of Maggie's Farm has become a familiar feature of their Two Harbors performances during the annual Blood on the Tracks Express. Jamie Ness and Brad Nelson rename themselves as the Freewheelers one night a year, but we all know who they are. Brad Nelson batters his drum kit with machine-gun efficiency, energizing whole enclaves to move their feet. Their popular for the force of their driving rhythms. Is rock about anger? Not necessarily. Not they way they play it. It's explosive and fun. For this album they were joined by Erik Berry (of Trampled By Turtles) and Dicky Brooks.

Dave Simonett ~ Boots of Spanish Leather
Heartfelt is all I can say. A wonderful rendition, with musical accompaniment by Lee Martin, Nathan Weiler, Russell Sackett and Brad Nelson. A favorite among favorites.

Murder of Crows ~ One Too Many Mornings

Gaelynn Lea with Alan Sparhawk

Alan Sparhawk's various bands remind me of the inimitable Lon Chaney, Hollywood's "Man of a Thousand Faces." His pairing up with Gaelynn Lea to form The Murder of Crows has produced another sound that translates One Too Many Mornings into the most sublime lament.

Devil's Flying Machine ~ Quinn the Eskimo
Charlie Parr is one of a kind, laying down a grinding undercurrent of churning energy. Here he is joined by Christian McShane and David Frankenfeld.

The Social Animals ~ I Want You
Dedric Clark reproduces that quavering voice of unmet need. The band (Tony Petersen, Boyd Smith, Roger Whittet) revives this Blonde On Blonde classic with style.

Tin Can Gin ~ Subterranean Homesick Blues
Fiddling and jammin', riddling, pickin' and grinnin'. This song's a fun one, and Tin Can Gin was up for it. "You better jump down a manhole, light yourself a candle... The pump don’t work ’Cause the vandals took the handles."

Timothy Martin & the New Norm ~ Like A Rolling Stone
Daring to tackle the classic like this takes stones. They do it well. Timothy Martin is backed by the big sound of Brian Wells, Peter Knutson, Russell Sackett, Dicky Brooks, Rio Daugherty and Bryan Johnson.

Feeding Leroy ~ Billy 1

These folks played the acoustic car last week on the Blood on the Tracks Express, and they will be performing with Mama's Stolen Horses at Karpeles Manuscript Library Museum on Thursday July 21. They're clearly in a good groove when they weave their vocals, steel guitar and melodic strings into delicate harmonies. Some nice harmonica licks, too. "Billy, you're so far away from home." Sonja Bjordal, Lee and Luke Martin, Adam Staupe.

The Social Disaster ~ Going, Going Gone
Song selections are fascinating on this CD. Two cuts were taken from Dylan's 1974 album Planet Waves. Though several of his mid-1960's albums established Dylan's reputation, Planet Waves was actually his first album to touch #1 on the charts. Rachel Phoenix, Jacob Swanson, Ryan Nelson, Jake Larson, Jesse Hoheisel.

Superior Siren ~ Isis

These women also played in the acoustic car on the BOTT Express. Many of the selections for this year's CD are lesser known or unexpected. Isis hails from Dylan's 1976 album Desire, featuring the violin accompaniment of Scarlet Rivera. Superior Siren features strings and a drummer with a light touch. Laura Sellner, Rachel Gobin, Nyssa Krause and Emma Deaner.

Space Carpet ~ Things Have Changed
An unusual sci-fi ambience opens this song and provides an undulating undercurrents as Space Carpet gives us a suitably dystopian vibe, dark and amorphic. "People are crazy and things are strange, I'm locked in tight and out of range... I used to care, but things have changed.." Rory Isakson, Jen West, Steve Isakson, Ken Thiemann, Tyler Dubla.

Actual Wolf ~ Something There Is About You
This is the second cut extracted from Planet Waves, and indeed it rouses. Furthermore, this is one songs with an undisguised reference to the town where Dylan was born.... walking the hills of Duluth. Yes, all Duluth snakes along hillsides, with fabulous vistas wherever you let it take you. Actual Wolf brings a sparkling kind of sound into the mix here, and it's easy to lean right into it. Eric Pollard, Steve Garrington, Russell Sackett and Alan Sparhawk.

Wood Blind ~ Million Dollar Bash
Another more than pleasant surprise. Million Dollar Bash has never received a treatment like this, and how it soars when interpreted by this lively component of the Duluth music scene. Don't know Jason and Veikko? This piece alone should make you buy this CD.

Mary Bue ~ Desolation Row
Now I've always loved Mary Bue's music. Her live performances always add brightness to any setting. She's a more than capable performer and very popular here in the Midwest, but her self-assured interpretation of Desolation Row is inexplicably strong. Every line is delivered with such piercing authenticity. So tell us, Mary, what new insights have you gained by performing such a classic as this? Bue is backed by Kyle McLean, Zac Bentz, Heather and Scott Millis and Brett Molitor.

The Weary Tunesmiths ~ Lay Down Your Weary Tune

Though not previously familiar with the Tunesmiths by this name, I'm quite familiar with a number of the players.  What a perfect summation for this fabulous collection. The song has an anthem-like quality here that lifts the soul. Each vocalist rises up with solo renditions and then gets joined by a chorus of harmonies that can literally bring tears. Such perfect splendor, glorious and majestic. If only humanity's seas would unite in such harmony.

Struck by the sounds before the sun
I knew the night had gone
The morning breeze like a bugle blew
Against the drums of dawn

I keep thinking, how did one man write so many great songs? And then, how truly wonderful that this next generation of musicians is taking up these anthems.

The Tunesmiths are comprised of Rich Mattson, Germaine Gemberling, Tim Saxhaug, Marc Gartman, Eric Pollard and Russell Sackett. Rich & Germaine also performed at Saturday night's concert at Sacred Heart.

The album is dedicated "In honor of John Bushey, host of KUMD 103.3's Highway 61 Revisited Radio Show for 25 years and counting." You can find out more and purchase your own copy here at duluthdoesdylan.com/

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Noteworthy News Item: A very special concert, aptly titled the Rolling Thunder Reunion, is taking place at Weber Hall Saturday July 23 featuring Eric Anderson and Scarlet Rivera. Tickets on sale here. The concert is a fund raiser for the Armory Arts & Music Center. More stories about Eric and Scarlet coming soon.

Meantime, life goes on all around you. Don't forget the DuSu Film Festival.  It's Free.

PHOTO CREDITS: The Weary Tunesmiths photo and the Lea/Sparhawk image were borrowed from their Facebook pages without permission. Permissions and photo credit will hopefully be acquired soon.