Steve Wynn | Here Come the Miracles

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Rock: Psychedelic Rock: Americana Moods: Solo Male Artist
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Here Come the Miracles

by Steve Wynn

Psychedelic post-punk classic rock. It made the BEST OF 2001 lists of The Boston Herald, Sound & Vision Magazine, Philadelphia Inquirer, Toronto Eye, and many, many more! Maybe it's time you checked out this guitar-noir classic.
Genre: Rock: Psychedelic
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1. Here Come the Miracles
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2:39 $0.99
2. Shades of Blue
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4:17 $0.99
3. Sustain
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4:54 $0.99
4. Blackout
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3:41 $0.99
5. Butterscotch
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4:04 $0.99
6. Southern California Line
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4:28 $0.99
7. Morningside Heights
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2:45 $0.99
8. Let's Leave It Like That
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3:08 $0.99
9. Crawling Misanthropic Blues
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2:17 $0.99
10. Drought
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3:24 $0.99
11. Death Valley Rain
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5:16 $0.99
12. Strange New World
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3:33 $0.99
13. Sunset to the Sea
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14. Good and Bad
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8:11 $0.99
15. Topanga Canyon Freaks
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5:31 $0.99
16. Watch Your Step
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3:53 $0.99
17. Charity
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18. Smash Myself To Bits
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19. There Will Come a Day
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ABOUT THIS ALBUM


Album Notes
Like baseball's Nolan Ryan before him, Steve Wynn just keeps getting better with age.

HERE COME THE MIRACLES is Steve's BEST solo album and many say the best album of his entire career.

MAGNET Magazine named it one of the 20 Best of 2001 and says: "When the flash flood of scotch and gasoline finally subsides, a career-defining double album blossoms like a century plant in the desert sand." MIRACLES has also made the BEST OF 2001 lists of The Boston Herald, Sound & Vision Magazine, Philadelphia Inquirer, Toronto Eye, and many, many more! Maybe it's time you checked out Steve Wynn's guitar-noir classic...

Here is a description of the album by famed Crime Fiction writer George Pelecanos:


HERE COME THE MIRACLES
Let me get this out of the way straight up: this is not going to be another one of those essays on The Dream Syndicate and The Next Big Thing That Didn't Happen.

It did happen.

It's all in the records, and what was laid down by Steve Wynn and his bandmates can't be taken away, ever.

Saying that the band never shipped platinum is as pointless as quoting weekend boxoffice grosses; talking about the limited output of the Syndicate is like discussing the tragedy of Orson Welles, who "only" made a handful of masterpieces.

When you're watching Chimes at Midnight or listening to The Medicine Show, do you think of anything but genius? Where's the tragedy in that? The point is, Steve Wynn has never stopped making great records, but the legacy and legend of his most famous band has often thrown a long shadow over his more recent work.

And that's wrong.

I own all the Velvet Underground albums, and I know they're classics `cause the critics told me so, but I reach for Coney Island Baby and Legendary Hearts when I want to hear some Lou.

With Wynn I put on Kerosene Man or Melting in the Dark.

You get the idea.

So I just got a promo of his new one, Here Come the Miracles, and it's like someone sent me a diamond or an unpublished Goodis through the U.S. mail.

After Wynn got all the tracks down in a ten-day session in Tucson, I suspect he realized that he had something bigger, and more startling, than he had intended.

The result is this two-disc set, often a self-indulgent ego-stroke, but not here.

Here Come the Miracles is Steve Wynn's Exile on Main Street, his Zen Arcade, and yeah, his Physical Graffiti.

Which is to say that this could be Wynn's most resonant recording, the one the heads'll still be listening to ten years from now.

Okay, what is it about this record? Since I don't know a chord change from a time signature, don't expect a technical answer.

What really stands out on Miracles is the songwriting and the band, which includes Wynn (guitar and vocals), Chris Brokaw (guitar), Linda Pitmon (drums), Dave DeCastro (bass), Chris Cacavas (keyboards), and guests.

Clearly, there's never been a Wynn-led lineup this tight, focused or as sympathetic to his vision.

As only the best music can do, these songs will take you out of your world and scare you a little bit, too.

Wynn has always done that for me, approximating the aural equivalent of noir literature in his records.

He does it here in spades, but this isn't the work of some nouveau nihilist trying on Jim Thompson's clothes.

The title of the record says it all.

On Wynn's shadowed streets there is always the promise of hope.

There isn't a throwaway track in the set.

"Shades of Blue" and "Sustain" are pure pop with guitar, my vote for this summer's singles.

"Blackout" and "Butterscotch" are signature Wynn mood-tunes, quiet, frightening, and beautiful.

Ditto for the haunting and crystalline "Drought." "Watch Your Step" is all driving riff and cheesy organ, like BTO played by The Shadows of Knight.

"Smash Myself to Bits" is a proto-garage freak out, with Linda's martial drumming galloping over the mix and pushing the band to a sustained, honk-party frenzy; the opening 2 minutes and change is the hottest slice of noise, period, you'll hear this year, and that's before Wynn even comes in with the first verse.

On the set's centerpiece, "Good and Bad," Wynn busts his "Cortez the Killer" move and shreds the sonic landscape with a 12-string solo that will have to be a hallmark of his live show for years to come.

Most tellingly, the record closes with "There Will Come a Day," which sounds like Dylan covered by Green on Red (no surprise, with Cacavas on board), and might be the one of the finest tracks Steve has ever recorded.

The song showcases Wynn's spiritual side, his secret weapon in the face of those who always mention his "darkness" and miss the point: that without some kind of illumination in the night, there is nothing to be seen at all.

I'm tempted to call this maturity, but don't let that scare you away.

Wynn's group rocks harder and with more raw energy than all the naval-gazer bands combined.

It's called deep fun, and it makes Here Come the Miracles a rich ride.



George P. Pelecanos is one of the finest crime fiction writers working today. He has been hailed as 'the coolest writer in America' (GQ) and 'a literary Tarantino with added heart' (Mail On Sunday) who makes Jim Thompson look like Barbara Cartland' (Mirabella). His books include King Suckerman, The Sweet Forever and Nick's Trip.




Reviews


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CD Baby


Oh man - is this guy just warming up or what? He's been around forever, but this has got to be the best music I've ever heard from him. It made the BEST OF 2001 lists of The Boston Herald, Sound & Vision Magazine, Philadelphia Inquirer, Toronto Eye, and more. This is Steve Wynn's Exile on Main Street, his Zen Arcade, his Physical Graffiti.

Magnet - The 20 Best Albums Of 2001


When the flash flood of scotch and gasoline finally subsides, a career-defining double album blossoms like a century plant in the desert sand.

Pamela Rooney

A psychedelic treatise of rock music that takes his past into consideration and
Now somewhat removed from his days as a founder of the 1980s “Paisley Underground” movement in Los Angeles, this former Dream Syndicate frontman has released several albums since the band went their separate ways, but this is by far his most thorough, intense, and expressive solo work. Wynn’s psychedelic mood runs throughout the two-disc set, and with its pop/rock overtones, he maintains a fuzzy sweetness on some tracks and a fuzzy harshness on others. These contrasts and compliments between the songs are that which make the record great; you don’t get hung up on just one sound. This recording also made the Best of 2001 lists of Magnet and Sound & Vision Magazine, among others.

Guy Peters

If greatness were people, this album would be China.
Easily among the best records of this year, Wynn's "Here Come the Miracles" is a sprawling, immensely varied double-album, on a par with classic such as the Stones' "Exile on Main Street", the Minutemen's "Double Nickels on the Dime" and Hüsker Dü's "Zen Arcade". It shares with those albums the fact that it may not be representative for his/their entire career, but as a starting point, it is ideally suited. "Miracles" is a varied record, containing introspective workouts(the wonderful, epic "Good and Bad", "Shades of Blue"), deceivingly entertaining psychedelic gems ("Sustain", "Death Valley Rain") and raving, thrash-the-place-apart rockers ("Southern California Line", "Smash Myself to Bits", "Crawling Misanthropic Blues"). The record combines thoughtful lyrics with exuberant rock, and is played by great musicians. Those who saw Wynn during his latest tour will surely remember the display of astonishing intensity. For my money, Wynn's best effort since The Dream Syndicate's "The Days of Wine and Roses" and one of the best rock albums of the recent years, one that you'll play over and over again.

George Partington

The real deal.
Says here 5 stars equals a masterpiece, and this surely is. I'm gonna have to check out Pelecanos cause he wrote a great review.
I haven't heard a more fully realized rock album in a long, long time. I really wasn't looking for one, either. Thought either they weren't being made or I was too old. How long has it been since you put on an album for the first time and thought, "what was that?" And then the thing just grows with each successive listen. It's all here. You can marvel at the band, the tight, live sound, the amazing drumming. You can wonder at the interesting production that yet doesn't get in the way of the music. You can be astonished at the originality of the music, how there isn't one tired idea or well-worn groove. Maybe it's the vocals one time through, then the organ, the barely controlled fury of of the full-on rockers, the gritty beauty.
This will sound as good and fresh 10 years from now, 20, 50... Bob Dylan sang "things come alive or they fall flat" on his 5-star 2001 outing. Like that album, this is definitely alive with an enduring vitality. You can here just about everything that's happened in rock up to this point here, and it's never sounded better.