by Lloyd Sachs
microphone techniques, 96, 116, 130, 173, 174–175, 183
“Mighty Man” (Burnett), 37–38
Milk Carton Kids, 205
Miller, Buddy, 195, 196
Miller, Roger, 47
Millet, McKinely James, 2
“Million Miles Away, A” (Alkes), 49
Milward, John, 57
Miner, David, 65, 73
Minghella, Anthony, 138, 139–140
Mini Mansions, 197, 205–206
Miramax, 138
Mississippi Fred McDowell, 22
Mitchell, Joni, 22, 28
mixing and mastering, 15, 80, 101, 131
Modern/Crown label, 169
Mojo Collection, The (Irving, ed.), 18
Monk, Thelonious, 215
“Monkey Dance” (Burnett), 75, 86
Monroe, Ashley, 196
Monroe, Marilyn, 45
Montana, 40–41
Montgomery, Gary, 25
Moon, Keith, 211
Moonalice (Moonalice), 183
Moore, Daniel, 23–24
Morganfield, McKinley. See Muddy Waters
Morricone, Ennio, 38
Morris, Chris, 53, 54, 55, 56, 57
Morrison, Van, 27–28, 95, 112
Morthland, John, 14
Morton, Jelly Roll, 12
Moss, Jerry, 115
Mother Courage and Her Children (play) (Brecht), 122–123
Motherland (Merchant), 206
mountain music tradition, 133, 134
movies, Burnett’s love of, 47–48
MP3s, 180, 184
“Mr. Jones” (Duritz, Bryson), 112
Mr. Lucky Goes Latin (Mancini), 126
Muddy Waters, 172, 209
Mumford (Marcus) and Sons, 190
Murder of Crows (Henry), 94–95
“Murder Weapon, The” (Burnett), 50
Muscle Shoals Rhythm Section, 101
Musgraves, Kacey, 196
musicians’ rights, 169, 180–181
Music Man, The (musical), 44
Musiker, Lee, 159
My Cross to Bear (G. Allman), 173
“My Heart Stood Still” (Rodgers), 44
“My Love Is Down” (L. Johnson), 171
“My Maria” (Moore), 23
Myrrh label, 76, 78
Mystery Girl (Orbison), 91
“Myth of Fingerprints, The” (Simon), 56
Nappy Roots, 137
Nas, 178
Nash, Ogden, 109–110, 188
Nashville (film), 204
Nashville (TV series), 135, 195–197
Nashville, Ogden, 110
Nashville Skyline (B. Dylan), 74
National Association of Broadcasters, 182
National Ransom (Costello), 69
National Recording Preservation Board, 184
Natural Act (Coolidge and Kristofferson), 36, 41
“Naughty Lady of Shady Lane, The” (Tepper, Bennett), 11
Nelson, Tim Blake, 131
Nelson, Willie, 75, 170, 204, 205
Nerves (band), 59
Neumann, Kurt, 60–61
Neuwirth, Bob, 27–29, 73, 108, 134, 186
“Nevermind” (Cohen, P. Leonard), 201
Neville Brothers, 58
New Basement Tapes. See Lost on the River: The New Basement Tapes (var.); photo section
“newgrass” music, 134
Newman, Barnett, 184
Newman, Randy, 25, 86, 91
New Mexico, 23, 34
New Moon Daughter (C. Wilson), 163
New Multitudes (W. Guthrie, var.), 191
New New Orleans Jazz (band), 12
“Night in Tunisia” (Gillespie), 5
Night of the Hunter, The (film), 200
No Better Than This (Mellencamp), 183
Noctournals, 103
Nonesuch Records, 82, 145, 206
Norman, Larry, 34
Norman’s Rare Guitars, 188
norteño music, 53
“Nothin’” (Van Zandt), 2, 155
Nothing but a Burning Light (Cockburn), 97, 103–104
Nothing but the Silence (Striking Matches), 205
“Now I Don’t Mind No Light Sermon” (Burnett), 25
NPR (National Public Radio) programs, 12, 65, 106–107, 130, 207
Nussbaum, Emily, 198
Oberst, Conor, 189
O Brother, Where Art Thou? (film/soundtrack), 2, 4, 12, 127–134
Ocean Way studios, 82, 128, 181, 207–208
O’Connor, Flannery, 109
O’Connor, Mark, 104
“O Death” (trad.), 12, 129–130, 133
Odyssey, The (Homer), 127, 138
“Oh, Pretty Woman” (Orbison, Dees), 90
“Oh Death” (trad.), 12. See also “O Death” (trad.)
“Oh No Darling” (Burnett), 74
“Old Blue Car” (Etzioni, Case, V. Williams), 60
Oldham, Spooner, 67
old-time sound, 42, 130, 133–134. See also period equipment in recording technique; roots music
Ollabelle, 209
Omnipop (Phillips), 83
“One Headlight” (Jakob Dylan), 114
“One in a Row” (Nelson), 75
One Kind Favor (King), 169–172, 173
“One Way Out” (Williamson, E. James, Sehorn), 172
“On Lusty Gentlemen” (Burnett), 18
“Only the Lonely” (Orbison, Melson), 90
On the Road with Bob Dylan (Sloman), 28
“Open the World” (Phillips), 147
Orbison, Roy, 48, 85, 89–91, 92, 144, 153
O’Riordan, Cait, 67–68, 87
“Orphan Girl” (Welch), 115, 116
Other End (venue), 27–28, 186
Our Year (Robinson, Willis), 144
Ousley, Curtis. See King Curtis
Outlaw Inn, Kalispell, Montana, 41
“Out of Time” (Phillips), 80
Outside Looking In (BoDeans), 61
“Outside the Lies” (Gilmore), 93
Overstreet, Jeffrey, 74
“Over You” (Burnett), 109
Page, Jimmy, 2, 155, 166
Pajama Game, The (film), 11
“Palestine, Texas” (Burnett), 151
Palladio, Sam, 197, 204
Palmer, Earl, 66, 169
Palmer, Robert (critic), 60
“Paper Wings” (Rawlings, Welch), 116
“Paralyzed” (Odom), 16–17
Pareles, Jon, 2
Parenthood (TV series, NBC), 100
Parker, Charlie, 5, 66, 208
Parker, Junior, 19
“Parker’s Back” (O’Connor), 109
Parks, Van Dyke, 80, 82, 87, 101, 146, 163
“Partisan, The” (Zaret, English translation), 101–102
“Pass You By” (Rawlings, Welch), 116
Patton, Charlie, 215
Paul and Paula, 14
Pavarotti, Luciano, 170
Payne, Leon, 65
“Peaceful Easy Feeling” (Tempchin), 35
Peasall Sisters, 131
Pebble Beach Pro Am tournament, 11
Peeping Tom (M. Powell), 149
Pekkonen, Rick, 115
Penn, Dan, 67
Penn, Michael, 114
Pennebaker, D. A., 132
“People’s Limousine, The” (Coward Brothers), 65, 75
Perelman, S. J., 209
Perez, Louie, 54, 56
period equipment in recording technique, 121, 128, 172, 174–175, 178, 183, 206. See also old-time sound
“Perverse Generation” (Burnett), 37–38
Peter Case, 59–60
Peterson, Oscar, 66
Petty, Tom, 91
Phillips, Leslie “Sam”: and Cowboy Jack Clement, 128; work with Burnett, 75–84, 114, 120, 121, 123, 145–147; work with Levon Henry, 141. See also Phillips, Sam, on Burnett; photo section
Phillips, Sam, on Burnett: as advocate for musicians, 7, 81; breakup, 146–147; fear of death, 6; first meeting, 77; friendship,
209; and Jerry Lee Lewis, 105; purity of music, 46; remixes, 84; self-destructive tendencies, 108; spiritual emotion in music, 74; “stubborn grace of,” 81. See also Phillips, Leslie “Sam”
Phoenix, Joaquin, 141–142
Phoenix, River, 125
Phosphorescent Blues, The (Punch Brothers), 206, 208
Piccioni, Piero, 126
Pickett, Wilson, 101
Piersante, Mike “Mikey”: on Burnett’s production style, 102, 130; on CODE technology, 184; engineering career highlights of, 145, 184, 209; profile and background, 214–215; projects with Burnett, 114, 155, 163, 172, 192; on Sunset sound board, 123
“Pilgrim Chapter 33” (Kristofferson), 47
Pizzolatto, Nic, 197, 198
Place, Mary Kay, 87–88
Places That Are Gone (Keene), 62
Plain Spoken (Mellencamp), 183
Planet Waves (B. Dylan), 36
Plant, Robert, 1–3, 153–157, 166
Plasmatics, 75
Playhouse (venue), 64
Playin’ Up a Storm (G. Allman), 173
“Please Accept My Love” (B. B. King, Ling), 174
“Please Mr. Kennedy” (Rush, Cromarty, Burnett, Timberlake, Coen Bros.), 188–189
“Please Read the Letter” (Page, Plant), 155, 156
Plimsouls, 59
Poe, David, 98, 195
“Poetry” (Burnett), 45–46
Pogue, David, 183
“Poisoned Rose” (MacManus), 66
“Poison Love” (Laird), 74
Polanski, Roman, 37, 48
“Po Lazarus” (trad.), 132
“Political Science” (Newman), 86
politics (Burnett’s), 85–88, 107–108
Pollock, Jackson, 20
Pono music system, 183
Poons, Larry, 28
Popular Problems (Cohen), 201
Porco, Mike, 28
Porgy and Bess (musical), 44
Porter, Cole, 11, 64, 75
Poster, Randall, 140–141
Potter, Grace, 103
Powell, Dirk, 139
Powell, Michael, 149
“Power of Love” (Burnett), 42
Prairie Home Companion, A (radio program, NPR), 207
preservation of music, 184
Presley, Elvis, 70, 203
Presley, Lisa Marie, 166
Prêt-à-Porter (film), 125
“Pretty Bird” (Dickens), 207
Price, Kenny, 20
Price, Ray, 195
“Primitives” (Burnett), 109
Prince (Prince Rogers Nelson), 181
production style, Burnett’s: artistic control, importance of, 19; cultural impact of, 6, 208–209; mixing and mastering, 15, 101, 131; overviews, 102; and player substitutions, 112, 113; respect and trust in, 81, 103, 162–163; soundtracks, 126–127; as transparent, noncontrolling, 57–62, 67, 96, 97, 98–99, 115–116, 165–166, 177. See also recording techniques
production styles in modern culture, 100–102
promotion, self-, focus on, 43–44, 85
Proof through the Night (Burnett), 48–51, 52, 108
Psycho-Suave label, 16
Punch Brothers, 32, 206, 207–208
Punch the Clock (Costello), 65
punk music, roots of, 208
Putnam, Bill, 137, 181
Put Your Needle Down (Secret Sisters), 206
“Queen Jane Approximately” (B. Dylan), 188
“Quicksand” (Burnett), 42
“Quinn the Eskimo” (B. Dylan), 190
“Ragged but Right” (trad.), 65
Raising Arizona (film), 124
Raising Sand (Krauss and Plant), 1–3, 5, 153–157, 166, 182, 215
Raitt, Bonnie, 90
Rank and File (band), 49
rap music, roots of, 208
Rauschenberg, Robert, 20
Rawlings, David, 115–117, 121
Rebennack, Mac. See Dr. John
Recording Industry Association of America, 182
recording techniques, Burnett’s: acoustic, 128; ambient atmosphere, 130–131; live sound, capturing by, 95, 104, 128–129, 155, 159, 171; microphone techniques, 96, 116, 130, 173, 174–175, 183; mixing and mastering, 15, 80–81, 101, 131; old-time sound, 42, 130, 133–134; period equipment, use of, 121, 128, 172, 174–175, 178, 183, 206; sound effects, 68, 130, 146, 173, 199, 201, 212–213; stereo vs. mono, 116; two-track, 72–73; volume and tone vs. attack, 154
Record Town (shop), 12
Redford, Robert, 178
Redman, Dewey, 11, 89
Reed, Jimmy, 11, 35, 137
Reed, Lou, 215
Reeltime Travelers, 139
religion: in Alpha Band period, 33–39; Burnett’s tenets and beliefs, 7, 34, 42–43, 79; CHART (faith and arts group) conference, 71–72, photo section; childhood participation in, 10; Merton’s influence, 73, 74; moralizing, 48–49; and politics, 107–108; themes on Criminal under My Own Hat, 108–110; themes on T Bone Burnett, 73–74; themes on The True False Identity, 151. See also Christian music
REM, 83
Remains, 98
Renaldo & Clara (film), 29, 40
Revelator (Tedeschi-Trucks Band), 175
reviews/critiques: of Burnett’s production style, 166, 169; of Burnett’s stage presence, 75; Counting Crows, 112; Joe Henry, 96–97; The Late Henry Moss, 122; Los Lobos, 57; Nashville, 196–197; O Brother, Where Art Thou?, 131; Peter Case, 60; Proof through the Night, 49; Sam Phillips’ work, 82, 83; T Bone Burnett, 73; The Tooth of Crime: Second Dance, 120; True Detective, 198; Truth Decay, 88; Walk the Line, 142
Revival (Welch), 116–117
Rhino label, 46, 49
Rhodes, David, 85–86
Rhythm and the Blues (Wexler), 101
Ribot, Marc: and Joe Henry, 97; performance highlights of, 68, 82, 84, 146, 163, 164; profile and background, 215; projects with Burnett, 103, 121, 155
“Rich Man” (Burnett), 38
“Rich Woman” (La Bostrie, Millet), 2, 156
“Ridiculous Man” (Burnett), 45
Righteous Brothers, 23
Riley, Tim, 29
“Ring of Fire” (June Carter, Kilgore), 75, 142
Rising Sons, 21
Rissa, Gabriel, 127
Rivera, Scarlet, 28
“River of Love” (Burnett), 73, 79, 109
Rivers, Larry, 24
Riverside Battle Songs (Ollabelle), 209
Roberson, Robbie, 36
Robert Ealey and His Five Careless Lovers, 19
Robertson, Pat, 107
Robertson, Robbie, 36, 190
Robin, Leo, 44, 47
Robinson, Bruce, 144
Rock & Roll Time (J. Lewis), 104–105
rock music, Christian, 33–39
Rodgers, Jimmy, 139
Rodgers, Richard, 11, 44
Rodgers and Hart, 11
Rodney King incident, 108
Rodriguez, Robert, 162
Rogers, Roy, 209
Rohmer, Eric, 47
“Rolling Stone” (trad.), 173
Rolling Stones, 75, 169
Rolling Thunder Logbook (Shepard), 29–30, 186
Rolling Thunder Revue, 27, 28–32. See also photo section
Romano, Ray, 11
Romeo Unchained (Tonio K), 76
Ron-Dels, 23
Rondstadt, Linda, 22
Ronson, Mick, 27, 28, 30, 46, 48
roots music, 128, 136–140, 169–170, 172, 208–209. See also Americana music
Rosas, Cesar, 53, 54, 57
Rounder Records, 155–156
“Round Here” (Duritz, et al.), 112
Rowan & Martin’s Laugh-In (TV show), 16
Roy Orbison and Friends: A Black and White Night, 90–91
Rubin, Rick, 102, 156
Rudolph, Alan, 135
Rumours of Glory (Cockburn), 103–104
“Runaway.” See “She’s a Runaway” (Llanas, Neumann)
Ruscha, Ed, 20
Russell, Leon, 21, 25, 176–178,
213
Rutledge, Jim, 16
Rykodisc label, 66, 67
Ryman Auditorium, Nashville, 132–133
Sacred Harp singing, 139
“Safe & Sound” (Swift, Joy Williams, White, Burnett), 200
Sahm, Doug, 19
Sail Away (Newman), 25
Salley, Rowland “Roly,” 3
sampling rates, 183
“San Francisco” (J. Phillips), 65
Sasfy, Joseph, 46
Saturday Night Fever (film), 135
Savoy, Ann, 136
“Scarlet Tide, The” (Burnett, Costello), 140
Scheff, Jerry, 66
Schumann, Walter, 200
Scialfa, Patti, 103
Scorsese, Martin, 47, 135
Scott, A. O., 131
Scott, Jimmy, 92
Secret, Profane and Sugarcane (Costello), 68–69, 183, 191
Secret Sisters, 206
Seeger, Pete, 124–125
Seeing Things (J. Dylan), 156
“See That My Grave Is Kept Clean” (Jefferson), 171
Seger, Bob, 46
Segovia, Andres, 215
self-doubt/insecurities, Burnett’s, 4, 10, 49, 72, 75, 87, 107, 150, 169
Selvin, Joel, 111
17-11-70 (John), 178
Sgt. Pepper’s Lonely Hearts Club Band (Beatles), 15
Shadows (band), 13–14. See also photo section
“Shaken Rattled and Rolled” (Burnett), 151
“Shake Yourself Loose” (Burnett), 73, 144
“Shakin’ Shakin’ Shakes” (Burnett, Rosas), 57
“Shambala” (Moore), 23–24
shape-note singing, 139
Sharpe, Ray, 19
Shaw, Bob, 69
Shear, Jules, 35
Shearer, Harry, 106
Shelter from the Storm: Bob Dylan’s Rolling Thunder Years (Griffin), 30
Shepard, Sam, 5, 29–30, 32, 118–122, 186, 195
“She’s a Runaway” (Llanas, Neumann), 61
“She’s a Woman” (Lennon, McCartney), 65
“She’s Got You” (Cochran), 207
“She’s Just My Style” (Lewis, Russell, Garrett, Capps), 213
Shewey, Don, 120
Shindig! (TV show), 21
Shindogs, 21
Shoot Out the Lights (Richard and Linda Thompson), 147
show tunes, Burnett’s love of, 44–45, 47–48, 75
Shuffletown (Henry), 95–96
“Shut it Tight” (Burnett), 50
Sides, Allen, 181
“Silver Mantis” (Burnet, Fleming), 31, 36, 41
Silver Seas, 99
Simeon, Omer, 12
Simon, John, 98
Simon, Paul, 56
Simon and Garfunkel, 101
Simone, Nina, 126, 206
Simpson, Sturgill, 205
Sinatra, Frank, 3, 92, 160, 203–204
“Sister Rosetta Goes before Us” (Phillips), 155
“Sittin’ on Top of the World” (Chatmon, Vinson), 138–139, 170, 172
“6th Avenue Heartache” (J. Dylan), 114