Freedy JohnstonIf you followed the career of Freedy Johnston, you might wonder what happened to him after 2001, when Elektra released his Right Between the Promises album.

Until Rain on the City (out today), Johnston released a live record and a CD of covers, but the man behind the 1994 single "Bad Reputation" -- who was Rolling Stone's songwriter of year that year, and whose major-label discography included albums produced by Butch Vig and T-Bone Burnett -- doesn't want to talk about the more than eight years between albums of original material.

"That's why we put it in the bio," he said last week. "I didn't want it to be talking about it every time, rehashing the same story."

In that official record-label bio, Johnston -- who will perform a Daytrotter.com show at RIBCO on January 23 -- is vague: "It takes a while to re-adjust one's priorities and get back on track after working with the big budget that the majors give you. I went through issues with the IRS, had a relationship go south and a touring vehicle grind to a halt, but through it all I never gave up writing and gigging whenever possible."

In our interview, Johnston didn't elaborate much on the specifics of his personal life. (In addition to living in Austin, Texas, in Nashville, and in New York, he did live in downtown Rock Island in 2002 and 2003 and married a woman from the Quad Cities.) But he did discuss his difficulty completing songs.

"I used to have no problem writing songs before I had a major-label deal," he said. "All of a sudden it was really hard to finish the damn things. ... Now I'm on the other side of it. ... Maybe I just needed to reset my clock. I'm working better now than I ever was."

Winners of the RME's 'What Music Means to Me' ContestMore than 90 students entered this contest with essays on what music means to them, and six winners were drawn in Mojo's at the River Music Experience on December 17. Winners received a musical-instrument package courtesy of Milan Surplus.

The winners and their essays follow.

Shilpa Ray & Her Happy Hookers. Photo by Chris Becker.

Shilpa Ray has a voice with the unpolished force of PJ Harvey and the Yeah Yeah Yeahs' Karen O on their early recordings, and she sometimes unleashes an uninhibited bluesy growl. Yet she's also capable of reining in her vocals to suit the song, as when she sounds (intentionally) a little sloppy/slurry/drunk on "Beating St. Louis" but also manages to nail a passage of higher notes.

She has a testimonial from the king of dramatic singing, Nick Cave: "She has a great voice; she writes great songs, great lyrics."

And Shilpa Ray - who will be playing with her backing band the Happy Hookers on January 16 at RIBCO - also plays a portable harmonium, a reed organ she picked up while studying northern-Indian classical singing from ages six through 17. (The instrument sounds a lot like an accordion.)

The goal: Make an album from favorite songs released in 2009, with special attention paid to the arc and to the relationships between songs.

The rules: one song per performer; artists featured in the previous three years of this project are excluded.

The caveats: I listen to a lot of music, and I estimate this list is culled from roughly a thousand songs from the past year. But I don't hear everything, and my listening is constrained by both taste and work. These are merely favorites.

The results: I had a much easier time selecting and sequencing in past years; the order here is more random than I would like, and it feels like it's missing some connective tissue. But these 16 tracks (totaling just more than an hour) do follow a path. This album puts up a defiant front before revealing its heart, and then it falls into a dark and cold place for much of its second half before recovering a little at the end. A line in the final song is "I believe in growing old with grace," and I think that can be seen as a loose theme running through this collection.

Mieka Pauley. Photo by Josh Rothstein.

Listening to Mieka Pauley play and sing "All the Same Mistakes" in her Daytrotter.com session released earlier this year, it's hard to imagine somebody who at one point loathed her music.

Using just her voice and an acoustic guitar, she is defiant and forceful yet also surprisingly supple, muscular but precise. The version that appears on her 2008 album Elijah Drop Your Gun is prettier and more delicate and takes advantage of her full band, but the Daytrotter version smolders, builds, and ignites.

Yet in early 2007, Pauley said that she felt ensnared by that voice-and-guitar combo. She had what she called "a very sad epiphany" while looking in a bathroom mirror: "What am I doing?"

Images by photographer Chris Jones from Monday's Megadeth concert at the RiverCenter. Click on any photo for a larger version.

Images by photographer Chris Jones from Thursday's Randy Houser and Jamey Johnson concert at the RiverCenter. Click on any photo for a larger version.

Randy Houser:

Andrew W.K.I have no certainty that the person whom I interviewed late last month is the real Andrew W.K., or the original Andrew W.K., or even that Andrew W.K. as a human being (as opposed to an entertainment entity) exists.

But the guy who called me introduced himself as Andrew W.K. and talked a good game, and he'll presumably be the man performing as Andrew W.K. at a benefit show Saturday at RIBCO. So we'll go with it.

"When someone says you're not a real person, or you don't exist, or that your life is a lie, that's a very strange feeling," he said.

If this sounds a little odd, you've likely not encountered Andrew W.K. I first saw the man on Saturday Night Live in 2002, and the spectacle was so bizarre that it had to be a joke -- some mix of Andy Kaufman's dry meta-comedy and Spinal Tap's sharp musical satire. I was fascinated and bought his record I Get Wet. My wife considered divorcing me.

Los Coscorrones

The Quad Cities band Los Coscorrones sounds like it finds its groove so effortlessly that it's easy to fall into the Santana vibe and explore no further.

But the quintet -- which will be celebrating the release of its self-titled debut on Saturday at Bent River -- is deceptive, couching some thrilling instrumental interplay in party songs that repel analysis with rote lyrics, gang-vocal refrains, and most critically irresistible hooks. In that way, the band crafts smart music disguised as something lesser, and it's never so smart that it's no longer fun.

Harper SimonRolling Stone began its positive four-sentence review this way: "At 37, Harper Simon apparently doesn't mind taking after his pops, Paul, who used to showcase the young, guitar-playing Harper when he was touring on Graceland."

On the one hand, that's mean. Living up to a legacy is tough enough -- just ask anybody with an older sibling -- but it's especially hard when that legacy belongs to a revered pop icon. And can Harper help that he bears a facial resemblance to his father, or that his singing voice and phrasing sound awfully familiar? Of course not.

On the other hand, he's asking for it. Paul Simon is credited as a co-writer on three tracks on Harper Simon, plays guitar on another, and "Wishes & Stars" has the gorgeous light harmonies his father specializes in. The jokey "Tennessee" puts the elder's trademark wit in a country context.

Yet it would be a mistake to pigeonhole Harper Simon -- performing a Daytrotter.com show on Monday at Huckleberry's -- based on his genes. His debut, released last month, is a quietly adventurous and accomplished work, spanning genres and generations. Employing senior-citizen Nashville session players with intimidating credits (Dylan, Cash, Presley, McCartney, and many more) alongside his contemporaries, Simon has made an album specific to its primary singer, all over the place and yet surprisingly cohesive. It's tight and concise but feels relaxed, natural, and easy.

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