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Jonathan Wilson, The Blank Tapes
Now a fixture in Southern California, Wilson’s admiration for the late-’60s/early-’70s Laurel Canyon sound — think acoustic sunsets, mellow psychedelic trips and everything from Buffalo Springfield and Joni Mitchell to Jackson Browne and even Obscured By Clouds-era Pink Floyd — has come to define his sound. The former North Carolinian (and Benji Hughes’ Muscadine compatriot) composes songs that stretch out endlessly, regularly topping the seven-minute mark. Like all things SoCal, they’re a product of the omnipresent sun, palm trees and the quotidian 70-degree days that color every aspect of life over yonder — girls live in bikini tops, time bends over the Pacific horizon, the future stretches out, and everything seems possible again, despite all the broken dreams, smog and hippie bullshit to the contrary. His latest, last year’s Fanfare, features guest spots from Laurel Canyon luminaries like David Crosby, Graham Nash and Browne, as well as Benmont Tench and Mike Campbell from the Heartbreakers. Throw in new purveyors of the Laurel Canyon vibe like Father John Misty and Dawes’ and Wilco’s Pat Sansone (in his Autumn Defense guise), and it’s practically 1971 all over again. It doesn’t deviate from the vibe, and that — though it may ultimately depend on the strength of your weed — is probably a good thing. (John Schacht)
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