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    Love for a music man

    John Prine tribute album celebrates one of folk's finest songwriters

    Jim Beviglia
    Jun 29, 2010 | 11:14 pm

    John Prine is a songwriter’s songwriter. In recent years, disparate talents like Elvis Costello, Bob Dylan and Roger Waters have sung his praises, three guys who saw the mainstream success that never quite found its way to Prine. The new tribute album Broken Hearts & Dirty Windows: Songs of John Prine proves that his influence has trickled down to some of the new generation’s leading lights.

    These younger artists pay their respect by taking the utmost care on these recordings, not one of which sounds like it was tossed off as a contractual obligation. They also dig deeper into the Prine catalog than you might expect, further proving that these artists are truly invested in the man’s work. Only Angel From Montgomery, famous thanks to Bonnie Raitt’s stellar cover version and here essayed nicely by Old Crow Medicine Show, might stick out to the casual fan.

    This makes the album worthwhile right off the bat as an introduction to the wonders of Prine’s songwriting, the way the lyrics seem to fall together effortlessly and yet reveal deeper truths that almost sneak up on the listener. His nimble wordplay fits in perfectly with the back-porch melodies, and the songs segue from ribald humor to lovely woe without the songwriting voice ever receding.

    The relative unfamiliarity of the material also allows for some of the artists to get away with a more straightforward approach to their covers. Josh Ritter’s hushed reading of Mexican Home sounds almost like a Prine imitation. Similarly, Justin Townes Earle lets the beautiful heartbreak of Far From Me unfold without any histrionics, and it’s absolutely the right play as a relationship deteriorates before our ears in three seemingly unassuming verses.

    It’s also a good thing that Prine’s mischievous tendencies get their showcase among all the more sober material. Maybe the elbow-to-the-ribs punning of "Let’s Talk Dirty in Hawaiian", here played in deadpan style by Those Darlins, skirts close to novelty territory, but it’s still a cleverly constructed romp. Meanwhile, the winning one-liners sprinkled throughout "Wedding Day in Funeralville" allows Conor Oberst to slip back into his Bright Eyes alter-ego and have some reckless fun for a change.

    Drive-By Truckers’ honky-tonk blitz on "Daddy’s Little Pumpkin" is a bit out of place, and The Avett Brothers' take on "Spanish Pipedream" is too studied in its downhome approach, but even these slight missteps are leavened by the quality of the songs themselves. Meanwhile, Sara Watkins ("The Late John Garfield Blues") and Liz Isenberg (joining Deer Tick on "Unwed Fathers") prove that a female voice can go a long way in exposing the empathy at the heart of so much of Prine’s work.

    The blue ribbons for this project go to a pair of interpretations that take a few liberties while still nailing the essence of the songs. "Bruised Orange (Chain Of Sorrow)" is a stunning song in its simplest form, but Justin Vernon, of Bon Iver, coats it in his trademark hollowed-out production and overlaid falsetto vocals and takes it into another realm.

    When he sings “My hearts in the icehouse” to open the song, and the album, the chills are already forming. Speaking of chills, the alt-country collective known as Lambchop take "Six O’Clock News", Prine’s time-spanning tale of a local boy’s demise, and amp up the mystery with an insinuatingly slinky bassline and frontman Kurt Wagner’s fathoms-deep vocal. It’s a risky gambit that works brilliantly.

    We already knew, through Prine’s own simple recordings, that these songs are wondrous in their purest form. What this magical compilation proves is that the songs can withstand even radical reinvention, often coming out the other side even better for it. Just remember that "Broken Hearts & Dirty Windows" should be used as just an introduction.

    If this is your first exposure to the work of John Prine, then you’re cheating yourself if you don’t follow up and seek out the rest.

    SAMPLE BROKEN HEARTS & DIRTY WINDOWS

    Far From Me by Justin Townes Earle

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    Six O'Clock News by Lambchop

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    Bruised Orange (Chain Of Sorrow) by Justin Vernon

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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