The Holy Grail: Bill Callahan’s "Smog" Dec. 10, 2001 Peel Session
Described by Callahan as showing Smog as "Dale Coopers with our black coffees", 'The Holy Grail' bundles covers of Velvet Underground and Fleetwood Mac with a couple of smoke-stained originals.
Callahan was touring 'Rain On Lens' with Jessica Billey, Mike Saenz and Jim White when he stopped by the BBC's Maida Vale studios to record this one. All live with no overdubs, it catches the band in a particular mood, so in Callahan's own words "it's more of a performance than a usual recording, because the audience (engineer and producer) were foreign to us. British, milk in tea." A smoldering 7-minute version of Fleetwood Mac's 'Tusk' standout 'Beautiful Child' eases us in, and the Lynchian vibe that Callahan mentions in the press release ("not in a Badalamenti, torch-song way - a deeper connection") makes itself clear. Slower, rendered in a minor key and steeped in American mythology, the track is handed an air of mystery that the band keep breathing through the entire session.
Then we're treated to an electrifying rendition of 'Dongs of Sevotion' track 'Cold Discovery' and a bluesy, heartbreaking version of 'Dirty Pants' that Callahan admits is "probably better than the LP version." It's all rounded off in typically enigmatic style with a short, sharp cover of Velvet Underground's 'Jesus' - there's a damn good reason why this particular session is so legendary.
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Described by Callahan as showing Smog as "Dale Coopers with our black coffees", 'The Holy Grail' bundles covers of Velvet Underground and Fleetwood Mac with a couple of smoke-stained originals.
Callahan was touring 'Rain On Lens' with Jessica Billey, Mike Saenz and Jim White when he stopped by the BBC's Maida Vale studios to record this one. All live with no overdubs, it catches the band in a particular mood, so in Callahan's own words "it's more of a performance than a usual recording, because the audience (engineer and producer) were foreign to us. British, milk in tea." A smoldering 7-minute version of Fleetwood Mac's 'Tusk' standout 'Beautiful Child' eases us in, and the Lynchian vibe that Callahan mentions in the press release ("not in a Badalamenti, torch-song way - a deeper connection") makes itself clear. Slower, rendered in a minor key and steeped in American mythology, the track is handed an air of mystery that the band keep breathing through the entire session.
Then we're treated to an electrifying rendition of 'Dongs of Sevotion' track 'Cold Discovery' and a bluesy, heartbreaking version of 'Dirty Pants' that Callahan admits is "probably better than the LP version." It's all rounded off in typically enigmatic style with a short, sharp cover of Velvet Underground's 'Jesus' - there's a damn good reason why this particular session is so legendary.
Described by Callahan as showing Smog as "Dale Coopers with our black coffees", 'The Holy Grail' bundles covers of Velvet Underground and Fleetwood Mac with a couple of smoke-stained originals.
Callahan was touring 'Rain On Lens' with Jessica Billey, Mike Saenz and Jim White when he stopped by the BBC's Maida Vale studios to record this one. All live with no overdubs, it catches the band in a particular mood, so in Callahan's own words "it's more of a performance than a usual recording, because the audience (engineer and producer) were foreign to us. British, milk in tea." A smoldering 7-minute version of Fleetwood Mac's 'Tusk' standout 'Beautiful Child' eases us in, and the Lynchian vibe that Callahan mentions in the press release ("not in a Badalamenti, torch-song way - a deeper connection") makes itself clear. Slower, rendered in a minor key and steeped in American mythology, the track is handed an air of mystery that the band keep breathing through the entire session.
Then we're treated to an electrifying rendition of 'Dongs of Sevotion' track 'Cold Discovery' and a bluesy, heartbreaking version of 'Dirty Pants' that Callahan admits is "probably better than the LP version." It's all rounded off in typically enigmatic style with a short, sharp cover of Velvet Underground's 'Jesus' - there's a damn good reason why this particular session is so legendary.
Described by Callahan as showing Smog as "Dale Coopers with our black coffees", 'The Holy Grail' bundles covers of Velvet Underground and Fleetwood Mac with a couple of smoke-stained originals.
Callahan was touring 'Rain On Lens' with Jessica Billey, Mike Saenz and Jim White when he stopped by the BBC's Maida Vale studios to record this one. All live with no overdubs, it catches the band in a particular mood, so in Callahan's own words "it's more of a performance than a usual recording, because the audience (engineer and producer) were foreign to us. British, milk in tea." A smoldering 7-minute version of Fleetwood Mac's 'Tusk' standout 'Beautiful Child' eases us in, and the Lynchian vibe that Callahan mentions in the press release ("not in a Badalamenti, torch-song way - a deeper connection") makes itself clear. Slower, rendered in a minor key and steeped in American mythology, the track is handed an air of mystery that the band keep breathing through the entire session.
Then we're treated to an electrifying rendition of 'Dongs of Sevotion' track 'Cold Discovery' and a bluesy, heartbreaking version of 'Dirty Pants' that Callahan admits is "probably better than the LP version." It's all rounded off in typically enigmatic style with a short, sharp cover of Velvet Underground's 'Jesus' - there's a damn good reason why this particular session is so legendary.
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Described by Callahan as showing Smog as "Dale Coopers with our black coffees", 'The Holy Grail' bundles covers of Velvet Underground and Fleetwood Mac with a couple of smoke-stained originals.
Callahan was touring 'Rain On Lens' with Jessica Billey, Mike Saenz and Jim White when he stopped by the BBC's Maida Vale studios to record this one. All live with no overdubs, it catches the band in a particular mood, so in Callahan's own words "it's more of a performance than a usual recording, because the audience (engineer and producer) were foreign to us. British, milk in tea." A smoldering 7-minute version of Fleetwood Mac's 'Tusk' standout 'Beautiful Child' eases us in, and the Lynchian vibe that Callahan mentions in the press release ("not in a Badalamenti, torch-song way - a deeper connection") makes itself clear. Slower, rendered in a minor key and steeped in American mythology, the track is handed an air of mystery that the band keep breathing through the entire session.
Then we're treated to an electrifying rendition of 'Dongs of Sevotion' track 'Cold Discovery' and a bluesy, heartbreaking version of 'Dirty Pants' that Callahan admits is "probably better than the LP version." It's all rounded off in typically enigmatic style with a short, sharp cover of Velvet Underground's 'Jesus' - there's a damn good reason why this particular session is so legendary.