Fricke finds Grace.

Rolling Stone's David Fricke is one of that rag's most wizened contributors. I like him not just 'cause he's pals with Brian Wilson, but because he writes a helluva lot better than the current crop of Pitchfork-weaned hyperbolists. Most of the time, that is.

Anyway, he's got a regular column in RS called "Fricke's Picks," in which he tells readers about random stuff that probably wasn't produced by Timbaland. One of his latest raves is about Vermont's own Grace Potter & the Nocturnals. Here's what duder says:

GP&N are rising stars on the jam-band circuit, the opening act of choice for headliners such as Umphrey's McGee and the North Mississippi All-Stars. But Potter, who plays funky keyboards and sings like a fighting-mad Bonnie Raitt, is poised for bigger things on Nothing But the Water (Ragged Company), a record of country-blues basics fired up by her evident love for Little Feat and early-'70s Rolling Stones. And she is no pushover as a lyricist. "Give me back my jeans and my JJ Cale," Potter demands in "Toothbrush and My Table," showing she's got good taste and the right priorities when it comes to breaking up.

Shit kids, I just typed that by hand! There wasn't a cut-and-paste option; the issue hit my mailbox today. How's that for dedication?

Comments

[Murf]

When I listen to Grace Potter sing, I hear someone trying sooo damn hard to sound like someone else; sound like the sterotype of what a hippie woman is supposed to sound like. Nails on a chalkboard for me.

I had someone tell me the other day that my dislike for Grace Potter is a sign that I'm uncomfortable with strong women. I nearly plunged a fork through his neck but I simply asked him how many Asobi Seksu albums he had and left it at that.

[casey]

Do you think he'll recover? Oh wait — you didn't plunge the fork. Nice restraint.

I agree that most of their stuff borrows insanely heavily from other sources, but they do seem comitted to growth. I saw them live recently, and, although they've got a way to go, their songwriting has improved. Or maybe I'm just a sucker for minor key progressions and Zep-style grooves, both of which they previously shied away from.