Don't Call It Nothing LD Uehara

Join host Lance Uehara Davis on the final Don't Call It Nothing podcast. We finish our four-part look at Mark Lanegan and the Screaming Trees in the 1990s. This time we hit the final two years of the decade—1998-99—as the Trees sputter to the finish line and Lanegan cleans himself up and releases a solid, if flawed effort (Scraps At Midnight) and a stone-cold masterpiece (I'll Take Care Of You). Thank you friends for your support along the way. It's been a helluva ride.

See ya on the flippety flop, LD
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Join Mark Lanegan and the Screaming Trees in 1994, run ragged from the road and poor lifestyle choices. That said, we're treated to a solid Lanegan effort from that year (Whiskey From The Holy Ghost), followed by collaborations with Mad Season and Mike Watt, pay tribute to Willie Nelson and Jim Reeves, and embrace the Trees' heroically flawed swan song (Dust).
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Don't Call It Nothing continues its tribute to the Screaming Trees and the late Mark Lanegan by reviewing the years 1990-93. The decade began with Lanegan releasing his solo debut, The Winding Sheet, with help from Kurt Cobain and Krist Novoselic of Nirvana. Both Conner brothers released records in 1990 through New Alliance Records, a subsidiary of SST that began life as an outlet for D Boon and Mike Watt of the Minutemen. In 1991, the Trees released their major label debut and final album with original drummer Mark Pickerel, Uncle Anesthesia. Barrett Martin then replaced Pickerel in time to record the band's masterpiece, 1992's Sweet Oblivion. We end the episode in 1993 as Mark Lanegan joins The Walkabouts for a soulful walk through the Charlie Rich catalog.
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Don't Call It Nothing pays tribute to the late Mark Lanegan by discussing the Screaming Trees in the 1980s. Everyone, even all-time greats, has to start somewhere and this episode tracks the Trees early years, when they went from faithful sons of Nuggets, Sabbath, and The Stooges to masters of melodic acid rock.
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Don't Call It Nothing gets personal as I talk about my maternal grandparents, Okinawa, plantations, and the Korean concept of han. I also discuss John Lee, aMiniature, the Casbah, and healthy competition in the mid-'90s San Diego scene. 
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Welcome to Part 2 of my song-for-song interpretation of Exile On Main St where I provide my explanations for each selection. I wanted to think about the album differently, as if its 18 songs were 18 individual ideas that influenced thousands of future bands in sometimes not so obvious ways. Instead of the Black Crowes, Pearl Jam, and White Stripes, we get You Am I, Wilco, and Maria McKee.
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