Note:
I have been working for several months on pretty challenging project: ranking my top 250 favorite songs of all time. Yeah I know. It’s a lot.
There are now nearly 500 songs under consideration for what I continue, somewhat inaccurately, to call my Top 250. Songs rise. Songs fall. Songs appear from nowhere and kick the living shit out of songs I have loved for thirty years.
And then something genuinely unexpected happened.
For the past decade of more, Emmylou Harris’s “Tulsa Queen” has been my favorite song of all time. I assumed it probably always would be.
I was wrong,
The new number one is Conor Oberst’s “Cape Canaveral.”
This essay is partly about that song and partly about the forty-plus years of listening that somehow brought me to it: childhood folk records, American musical history, Emmylou Harris, Bob Dylan, Craig Finn, Bright Eyes, Better Oblivion Community Center, Ryan Adams, live music, and the strange experience of discovering that a song you have known for years has suddenly become something else entirely.
Music rules, everybody.
Long live music.
Epigraphs:
Music rules
—EvervbodyI support the French Revolution
—Dean WarehamI heard that victory’s sweet/ even deep in the cheap seats
—Conor Oberst
Introduction:
For the last several months on the Kyoto Kibbitzer, I’ve been working on a piece entitled “The Top 250 Songs of All Time.” This is, of course my list, and it is therefore entirely subjective. Nevertheless, it is the product of more than forty years of intensive, daily listening to music of all kinds.
“Cape Canaveral,” by Conor Oberst, recently displaced “Tulsa Queen” as my number-one song of all time.
This is no small thing. “Tulsa Queen” has been my favorite song for at least ten years, possibly longer, however the first full album of hers that I fell in love with was the 2008 record Spyboy. I knew Emmylou before that, of course, and I especially liked “’Til I Gain Control Again,” which at that point I knew largely through the immaculate This Mortal Coil cover. I was also familiar with her connection to Gram Parsons, and knew how devastated she had been by his death. I knew songs like “Boulder to Birmingham,” and I may or may not have heard “Tulsa Queen” a time or two. It was a long time ago.
In any case, it was Spyboy that really made me pay attention to Emmylou for the first time. I devoured that record, and I loved it.
Listening For Something
By the time I heard Spyboy, I had already listened intensively to hundreds and hundreds—probably thousands—of records. In fact, my relationship with music goes much farther back than that.
When I was six or seven, Joan Baez’s “The Sweet Sunny South” was the first song I truly fell in love with. It simply captivated me. About a year earlier, I had dug an old record of American folk songs out of what we called the “back closet,” which was actually the front closet. I forget the title. It was something straightforward, along the lines of The Greatest American Folk Songs.
The song I really fell in love with was “The Big Rock Candy Mountain.” This song contains the great verse:
In the Big Rock Candy Mountains
You never change your socks,
And the little streams of alcohol
Come a-trickling down the rocks
I understood the song, even then, to be a fantasy of escape: the mythical paradise of the hobo, where ordinary deprivation and misery have somehow been turned upside down.
American musical history fascinates me. In the mid-twentieth century, collectors such as Alan Lomax preserved thousands upon thousands of American folk performances that might otherwise have disappeared. Those archives remain an invaluable resource for musicians, critics, historians, and ordinary music fans alike.
I’ve poked around in archives like Lomax’s myself, and I find them endlessly fascinating. My primary musical preference remains American and British folk and Americana. I also love most forms of country music, although, to be honest, some popular country gets a little too saccharine and sappy for me.
I also love indie and alternative rock, especially the indie music of the 1990s and early aughts. As I’ve written elsewhere, I don’t keep up with new music these days as much as I probably should. I do try to keep up with new releases from favorite active artists: Conor Oberst, Craig Finn, Sun Kil Moon, Ryan Adams, Neil Young, and even Bob Dylan, who remarkably continues making music well into old age.
And this brings me back to “Cape Canaveral.”
When I finally fully appreciated the song, I realized something strange:
I had been listening toward it my entire life.
Cape Canaveral
For my money, “Cape Canaveral” is primarily a song about escape.
It is also a song about the vicissitudes of patriotism, about being an American, about the Fourth of July, and the American space program. It is one of the sweetest songs I have ever heard. It is also super sad. Conor just has a way of breaking a guy’s heart.
There is one particular acoustic live performance on KCRW in 2014 that I particularly love. Conor introduces the song by talking casually to the audience about his big backyard in Omaha, being outside at night, looking up at the stars, and relaxing with whoever happens to be beside you. Then the first few notes hit, and the effect is devastating.
I love music. I love live music the most. I also love musicians introducing their songs. I’ve written about this at some length elsewhere. These little introductions can become almost as important to me as the songs themselves. They cement a song in a place and a moment. They also give you a little insight into the artistic process, which I find super cool.
And then the song starts.
What gets me first is the sound. “Cape Canaveral” is remarkably spare. Conor doesn’t overplay things. The acoustic guitar carries the song along gently, and his voice sounds simultaneously intimate and far away. The whole thing has the quality of somebody sitting outside late at night, thinking about his life while everyone else has gone to bed.
And then there are the images: rockets, orange groves, interstate highways, television, war movies, stars, cheap seats. The song keeps moving between the enormous and the ordinary: outer space and somebody’s backyard; American history and private memory; the grand technological dream of the space program and one lonely human being trying to understand where he is.
That scale is part of what makes the song so beautiful to me. The rocket goes up. The stars get smaller. Everything changes.
And then there is the line that just breaks my heart every time:
Victory’s sweet
Even deep in the cheap seats
FUCK YEAH CONOR. You know it, baby.
And underneath all of this, I hear escape.
That is the thread that connects “Cape Canaveral” to “The Big Rock Candy Mountain” for me. One song imagines a hobo’s paradise and the other looks toward rockets, highways, and the night sky, but both contain the same ancient human impulse: maybe there is somewhere else to go.
Maybe there is some kind of life beyond this one. Maybe if you keep moving long enough, something will finally open up for ya.
For now, anyway, “Cape Canaveral” is my favorite song of all time.
Is Conor Obrest My Favorite Songwriter?
As I write this today, when I really think about it, Conor Oberst may be my favorite songwriter of all time.
Actually, I have three favorite songwriters and a close fourth. My three are Conor Oberst, my current favorite; Bob Dylan, the historical champion; and Craig Finn.
Until very recently, I would have sworn to you that Finn was—and probably always would remain—my favorite songwriter. But it has now been a few weeks since I replaced “Tulsa Queen” with “Cape Canaveral,” and during that time I have probably listened to “Cape Canaveral” eighty or a hundred times. Sometimes I listen on Spotify. More often, I return to the live performance.
Conor first burst onto the scene as a teenage wunderkind with Bright Eyes. I like Bright Eyes a lot. I especially love “Easy/Lucky/Free” and “Gold Mine Gutted,” both from 2008’s Digital Ash in a Digital Urn. This is a curious and funny title, and I like it.
A lot of people also know I’m Wide Awake, It’s Morning. I like that record too, but it has never really floated my boat.
When it comes to Conor’s solo catalog, however—and then Better Oblivion Community Center, his collaboration with Phoebe Bridgers—the picture starts to shift.
In addition to “Cape Canaveral,” I love “Classic Cars,” and “A Little Uncanny,” which is totally out of control. I love “Next of Kin,” including this wonderfully deadpan line:
Yeah I met Lou Reed and Patty Smith
I didn’t make me feel different.
I liked these lines so much that I used them as an epigraph to an earlier piece.
I love “No One Changes,” one of Conor’s saddest songs. I love “I Don’t Want to Die (In the Hospital),” which is also extremely funny. I love “The Rockaways.” I love so many of his songs.
And then there is Better Oblivion Community Center.
When I first hear the record, the immediate standout was “Dylan Thomas.” I wrote about it almost immediately in an essay called “On the Song Dylan Thomas and Rhyme.”
I wrote that piece very fast—in ten or twelve minutes, as I recall—while standing on a train from Akasaka Station to Tokyo Station.
I’m proud of the piece. Quite improbably, it has also experienced a dramatic resurgence in readers recently.
I find all this very exciting. It makes me proud to be a writer and proud to have kept a near-daily blog for all these years. I love writing. I love reading. I love everything about them, and I always have.
There are many other great Conor and Bright Eyes songs I could name, but the list would tale up too much space. Suffice it to say that today I believe Conor Oberst and Craig Finn are the two greatest songwriters working, while Dylan remains the historical champion.
Ryan Adams
If Conor is my current favorite, Finn is tied or running a very close second, and Dylan remains the historical champion, I would be remiss not to mention Ryan Adams in the four spot.
There is one ugly episode in Conor’s history worth addressing first. In 2013, a woman publicly accused Oberst of raping her after a Bright Eyes concert years earlier. Oberst denied it. The woman subsequently retracted the accusation entirely apologized, and admitted that she had fabricated it.
Making a knowingly false accusation of rape is an appalling thing to do. It harms the falsely accused person, and it also makes life harder for actual victims of sexual violence. Rape is an atrocious crime. Deliberately inventing one is a different act with different consequences, and there is no reason for me to construct some kind of grand hierarchy here. The relevant point is simpler: the allegation against Oberst was withdrawn by the person who made it, who acknowledged that she had fabricated it.
Ryan Adams presents a messier case.
In 2019, multiple women, including his former wife Mandy Moore and Phoebe Bridgers, a then up and coming musician who toured with Ryan around this time, publicly accused Adams of manipulative or abusive behavior. Moore described psychologically controlling behavior, and said that Adams had not sufficiently helped to advance her music career. Specifically, she accused Adams of not giving her free studio time. At the time and still today, I find this accusation completely ridiculous. It is his studio. He can with it whatver he wants.
Bridgers, in turn, described a romantic and professional relationship that she said had became emotionally abusive. She finished the tour with Adams, and the two went their separate ways. Another accusation was more serious. Adams disputed significant portions of the reporting. As of this writing, Adams has never been arrested or charged for any of these incidents.
Whatever judgment one makes about Ryan Adams the man, none of this changes his greatness as a songwriter.
“Oh My Sweet Carolina,” “Damn, Sam (I Love a Woman That Rains),” and “Come Pick Me Up” are indelibly etched into the American folk-rock canon. Mandy Moore has had an successful career of her own, but she and Adams occupy very different musical territories, and comparing their importance as songwriters isn’t particularly helpful.
There is also a curious connection here. Bridgers later formed Better Oblivion Community Center with Conor Oberst, an older man like Adama. I have no idea whether Conor and Phoebe were ever lovers, however it is fun to ship them. I kind of hope they got together once or twice in the studio or at the hotel or something.
I’ll never know. And it’s none of my business.
Ryan therefore stays in the four spot: a difficult man by numerous accounts, a songwriter whose work has meant an enormous amount to me, and another tributary feeding the musical river that eventually brought me to “Cape Canaveral.”
The biography matters. The allegations matter. But this is an essay about listening.
And his songs are why Ryan Adams is here.
A New Number One
So that’s about it. I have a new favorite song, and it’s “Cape Canaveral.”
I don’t foresee it getting knocked out of the number-one spot anytime soon. Of course, I thought the same thing about “Tulsa Queen.”
And I was wrong.
Right now, “Leaving LA,” the glorious song by Father John Misty, is number two. “Cruiser” is number three. The totally slapping “Dreadful,” by The Violet Burning, is number four. And “Tulsa Queen” has now been bumped all the way down to number five.
Sorry, baby. You know I love you.
I continue to listen to music every day, often for several hours. I sleep to music. I wake up to music. I shower and brush my teeth to music. I read to music. I eat to music. I drink coffee and tea to music. I make love to music.
I love music more than almost anything in my life, except my son, of course. I love nearly every form of music, and I love live music most of all. The thrill of a great live concert is unequaled by almost any other experience under the sun.
I did get the chance to see Conor live in Osaka just a few months ago with my friend Jack. It was a small venue downtown. Conor was great. He opened with a few songs I knew and a few I had never heard before.
Although I was having a good time, unfortunately I was so zonked that I had to leave after only about twenty-five minutes. I was disappointed, but I was so tired that I simply had no choice.
Jack told me on the phone the next day that he had left only about five minutes after I did. I guess he too was beyond all help.
That night, anyway, we were completely out of control.
Long Live Music
Part of me wants “Cape Canaveral” to hold onto the number-one spot forever.
Another part of me hopes a new challenger emerges.
“Leaving LA” and “Cruiser” are the obvious contenders, with “Dreadful” right there too. “Tulsa Queen” has already fallen four places, so I don’t see her charging back to number one anytime soon.
But who knows?
The artists I listen to most frequently these days include Whiskeytown and The Jesus and Mary Chain. Both absolutely slap and totally rule. Whiskeytown occupies the folk/country side of my canon; The Jesus and Mary Chain occupy the alternative and early-indie side.
Other artists I play constantly include Craig Finn, Happiness, Daddy Issues, The Violet Burning, and Michael Knott, and many others.
R.I.P. Michael Knott. R.I.P. to a legend.
I listen to so many songs every day that I can hardly keep count. That is one reason I’ve taken to making these lists in the first place. The rankings change. The artists change. I change. Some song I’ve heard fifty times suddenly opens itself up on the fifty-first listen and becomes an entirely different thing.
That is part of the fun. That is part of the mystery. That is why I keep listening.
Long live music. Long live live music. Long live music fans.
Long live Conor Oberst. And long live “Cape Canaveral.”
Amen.
Dedication:
For musicians and music fans everywhere. I love you. And for Conor Oberst. You’re the fucking man, baby.






