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olks recommending themselves and others all the time. DM’d to death, that’s the retail POV in 2026.
A few trusted voices act as a filter, in this case maestro Chris Brokaw, who writes some notes on the back of this one and appears on a bill with same today way down the #southbrooklyn corridor at @mamatriedbk
_I Belong to You: An Introduction to Milo Jones_ (Tar River Records, 2026) collects this elusive craftsman’s music from the last 20+ years and somehow still comes off sounding like a single voice/session/take.
Brokaw purportedly took lessons from Jones around the turn of the century and one wonders how those studies may have given direction to CB’s The Hand that Wrote this Letter (Capitan, 2017) CD where he presents new and totally timeless versions of Bowie and Prince: a masterclass in arrangements and approach.
And this Lp, “Milo Jones,” a name and face we assume is a persona, has been working consistently over the last thirty years on a similar course, fusing originals with covers/standards from the songbook and beyond. Think: Dino Valente, Cole Porter, Lee Hazlewood, Randy Newman, Jackson Brown, etc.; mix in some Johnny Paycheck and Serge Gainsbourg and a picture or field of reference begins to come into focus.
That said, like this atist list, Milo Jones’s vocal and musical voice occupy their own space entirely, a kind of fluid b/w languid appeal that, if it wasn’t so American in dialect, we might compare to John Martyn. And like Martyn, there’s an element of something disturbing or, as Brokaw describes it, “pervy” moving between these tracks and voices. The ease with which these tunes roll across these two sides (think Jorma Kaukonen!!) is pretty mesmerizing. And the subtle warble on the guitar during the last track, titled “Undertow” (2005), proves a perfect closer.
The beautiful lyrical delivery always countered by content: “Man-size action hangs from the falafel vendor,” halal gotta have it, I guess. Brokaw claims the line “really gotta let loose all over your caboose” references urination.
Very little information on line about MJ, but it appears he has lived, beyond Boston, in North Carolina. And that one of his songs was performed by the Squirrel Nut Zippers. Skeptic folks in the shop wonder whether he may have even been in that nineties project. Holy Mammoth! Yesterday when MJ was in the shop he looked exactly like the face on the cover. Which leads to our Haino persona question: “Does he shower with those shades on or off?”
olks recommending themselves and others all the time. DM’d to death, that’s the retail POV in 2026.
A few trusted voices act as a filter, in this case maestro Chris Brokaw, who writes some notes on the back of this one and appears on a bill with same today way down the #southbrooklyn corridor at @mamatriedbk
_I Belong to You: An Introduction to Milo Jones_ (Tar River Records, 2026) collects this elusive craftsman’s music from the last 20+ years and somehow still comes off sounding like a single voice/session/take.
Brokaw purportedly took lessons from Jones around the turn of the century and one wonders how those studies may have given direction to CB’s The Hand that Wrote this Letter (Capitan, 2017) CD where he presents new and totally timeless versions of Bowie and Prince: a masterclass in arrangements and approach.
And this Lp, “Milo Jones,” a name and face we assume is a persona, has been working consistently over the last thirty years on a similar course, fusing originals with covers/standards from the songbook and beyond. Think: Dino Valente, Cole Porter, Lee Hazlewood, Randy Newman, Jackson Brown, etc.; mix in some Johnny Paycheck and Serge Gainsbourg and a picture or field of reference begins to come into focus.
That said, like this atist list, Milo Jones’s vocal and musical voice occupy their own space entirely, a kind of fluid b/w languid appeal that, if it wasn’t so American in dialect, we might compare to John Martyn. And like Martyn, there’s an element of something disturbing or, as Brokaw describes it, “pervy” moving between these tracks and voices. The ease with which these tunes roll across these two sides (think Jorma Kaukonen!!) is pretty mesmerizing. And the subtle warble on the guitar during the last track, titled “Undertow” (2005), proves a perfect closer.
The beautiful lyrical delivery always countered by content: “Man-size action hangs from the falafel vendor,” halal gotta have it, I guess. Brokaw claims the line “really gotta let loose all over your caboose” references urination.
Very little information on line about MJ, but it appears he has lived, beyond Boston, in North Carolina. And that one of his songs was performed by the Squirrel Nut Zippers. Skeptic folks in the shop wonder whether he may have even been in that nineties project. Holy Mammoth! Yesterday when MJ was in the shop he looked exactly like the face on the cover. Which leads to our Haino persona question: “Does he shower with those shades on or off?”